Ingres Madame Franz Adolf von Stuerler born Matilda Jarman Jean Auguste Dominique Ingres (1780-1867)

Here we observe a portrait drawing executed in chalk or pastel on paper. The subject is a woman seated in a chair, presented in a three-quarter pose that allows for a detailed depiction of her features and attire. Her gaze is directed towards the viewer, conveying an impression of composure and perhaps a touch of reserved confidence.
The artist has rendered the figure with meticulous attention to detail, particularly evident in the rendering of the woman’s face. The delicate lines define her high forehead, prominent nose, and subtly pursed lips. A soft modeling technique gives volume to her features, suggesting an underlying warmth despite the formal nature of the portrait. Her hair is styled in a fashionable manner for the period, with dark curls framing her face and cascading onto her shoulders.
The woman’s clothing contributes significantly to the overall impression. She wears a high-necked dress with delicate detailing on the sleeves and bodice. A shawl or wrap drapes across her lap and over the chair, adding layers of texture and visual interest. The folds of the fabric are carefully observed and rendered with precise lines, demonstrating the artist’s skill in capturing the nuances of drapery.
The background is minimal, consisting primarily of the plain paper surface, which directs focus entirely on the subject. A handwritten inscription at the top identifies her as Matilda von Stuerler, née Jarman. Additional notations appear near the bottom left corner, including a signature and date (Oct 13, 61).
Subtly, the drawing conveys an impression of social standing and refinement. The formal pose, elegant attire, and careful rendering all suggest that this is a portrait intended to commemorate a woman of some importance or status within her community. The restrained emotional expression hints at a cultivated demeanor, characteristic of upper-class individuals in the mid-19th century. While seemingly straightforward, the drawing’s understated elegance speaks volumes about the sitters identity and the conventions of portraiture during that era.