National Gallery of Art – Nicolas de Largillierre - Elizabeth Throckmorton, Canoness of the Order of the Dames Augustines Anglaises
1729. Oil on canvas, 81.5 x 65.7 cm. Nicolas de Largillierre (French, 1656 1746). Credit: Courtesy National Gallery of Art, Washington.
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The elaborate habit dominates the composition. Its folds are meticulously depicted, revealing an attention to detail characteristic of portraiture from this period. The stark contrast between the black veil and the white undergarments creates visual interest and emphasizes the formality of her position within the religious order. A small book is held delicately in her left hand, positioned near her waist; its presence signifies piety and scholarly pursuits, common attributes associated with women in religious life.
The inscription at the top identifies her as Elizabeth, Daughter of Sir Robert Throckmorton, Baronet. This detail provides a crucial context: she is not merely a member of an order but also a woman of noble birth. The inclusion of this lineage suggests that the portrait was commissioned to commemorate her entry into religious life and to acknowledge her familys social standing.
Subtleties within the painting hint at complexities beyond the surface representation of piety. While the direct gaze establishes a connection with the viewer, it also maintains a distance, suggesting a woman who has consciously chosen a path that separates her from secular society. The muted background and lack of surrounding objects contribute to an atmosphere of quiet contemplation, reinforcing the sense of detachment associated with religious vocation. The portrait, therefore, is not simply a depiction of a woman in religious garb; it’s a carefully constructed statement about identity, lineage, and the deliberate choice of a life dedicated to faith.