Portrait of the Countess of Tournon
Jean-Auguste-Dominique Ingres, French, 1780 - 1867
Geography:
Made in Rome, Italy, Europe
Date:
1812Medium:
Oil on canvasDimensions:
36 3/8 x 28 13/16 inches (92.4 x 73.2 cm)Curatorial Department:
European Painting
1986-26-22Credit Line:
The Henry P. McIlhenny Collection in memory of Frances P. McIlhenny, 1986
Made in Rome, Italy, Europe
Date:
1812Medium:
Oil on canvasDimensions:
36 3/8 x 28 13/16 inches (92.4 x 73.2 cm)Curatorial Department:
European Painting
* Gallery 299, European Art 1500-1850, second floor
Accession Number:1986-26-22Credit Line:
The Henry P. McIlhenny Collection in memory of Frances P. McIlhenny, 1986
Label:
Long past youth and far from beautiful, the Countess confronts the viewer with a self-assured gaze full of vivacity and wit. The mother of a high government official in French-occupied Rome, she was Ingres's only elderly female sitter and the inspiration for one of his liveliest and most accomplished early portraits.
Long past youth and far from beautiful, the Countess confronts the viewer with a self-assured gaze full of vivacity and wit. The mother of a high government official in French-occupied Rome, she was Ingres's only elderly female sitter and the inspiration for one of his liveliest and most accomplished early portraits.
Explore the Collections
Philadelphia Museum of Art: Handbook of the CollectionsThis painting of the countess of Tournon is one of Jean-Auguste-Dominique Ingres's liveliest and most accomplished early portraits. The countess was a member of the French expatriate colony in Rome, where her son held high office during the Napoleonic occupation. Long past her youth--she was Ingres's only elderly sitter--and far from beautiful, she was nevertheless witty and wise, and, as with all his most beguiling sitters, Ingres responded with wit and sympathy of his own as he shows her confronting the viewer with a direct, assured gaze full of natural vivacity. The artist pays particular attention to the full, rounded volumes of her arms and her luxurious costume, brilliantly differentiating among the velvet, challis, cashmere, and tulle. Such splendid accouterments in no way swamp the countess's vivid personality. Christopher Riopelle, from Philadelphia Museum of Art: Handbook of the Collections (1995), p. 185.
Provenance
Comte de Tournon, c.1812; Marquis de Tournon; Comte Jean de Chabannes-la-Palice [and Madame la Comtesse?], by 1911, until at least 1921 [1]; sold by the family of the Comtesse Tournon to Paul Rosenberg, Paris, 1935; sold to Henry P. McIlhenny, Philadelphia, August 29, 1935 [2]; bequest to PMA, 1986. 1. Label on reverse from "Exposition Ingres," Galerie Georges Petit, Paris, 1911, lists the owner as "Made. la Ctesse Chabonnes La Palice." Lent by the Comte Jean de Chabannes-la-Palice to the "Exposition Ingres," Paris, Chambre Syndicale de la Curiosité et des Beaux-Arts, May 8-June 5, 1921, no. 18. Probably Jean Victurnien Jacques de Chabannes-la-Palice (b. 1867) who married Louise Hélène Françoise de Tournon Simiane (1873-1960) in 1892 (they had four children). 2. Copy of dated receipt from Rosenberg to McIlhenny in curatorial file. A letter from Rosenberg to McIlhenny dated 12 June 1935 notes that he bought it directly from the family of the Countess Tournon (copy in curatorial file).* Works in the collection are moved off view for many different reasons. Although gallery locations on the website are updated regularly, there is no guarantee that this object will be on display on the day of your visit.
