Largillière, Nicolas de – Portret van een vrouw, volgens traditie Marie-Louise Elisabeth d’Orléans, duchesse de Berry, als Flora, 1690-1740 Rijksmuseum: part 4

Here we observe a full-length portrait of a woman posed in a naturalistic setting. The subject is depicted as if caught mid-gesture; her right arm extended slightly forward, hand partially obscured by a profusion of flowers. She gazes directly at the viewer with an expression that suggests both composure and a subtle awareness of her own presentation.
The artist has chosen to place the woman within a landscape background, rendered in muted greens and browns, which recedes into a hazy distance. This backdrop serves not merely as scenery but contributes to the overall impression of idealized beauty and pastoral serenity. The lighting is soft and diffused, illuminating the subject’s face and highlighting the rich textures of her garments.
The womans attire is particularly noteworthy. She wears a vibrant red bodice paired with a flowing grey skirt, draped in a style characteristic of the early eighteenth century. A blue cloak or shawl is casually thrown over one shoulder, adding a touch of elegance and movement. Most significantly, she is adorned with an elaborate floral crown and a garland of flowers that wraps around her waist and extends down her arm, intertwining with the fabric of her dress. The variety of blooms – roses, poppies, lilies – suggests abundance and fertility.
The subtexts within this painting are layered and suggestive. The floral motifs strongly imply an association with Flora, the Roman goddess of flowers and spring. This identification elevates the subject beyond a mere individual portrait; it positions her as embodying ideals of beauty, nature, and renewal. The gesture of extending her hand towards the viewer can be interpreted as an offering – a symbolic presentation of these qualities.
The overall effect is one of carefully constructed artifice designed to convey status, virtue, and connection to classical mythology. While seemingly spontaneous, the pose and setting are meticulously arranged to create a flattering and idealized representation of the sitter. The painting speaks to the conventions of aristocratic portraiture during this period – a desire not only to record likeness but also to project an image of refined taste and cultural sophistication.