{"title":"Marie-Antoinette and the Image of Moral Instruction","authors":"T. Lawrence Larkin","doi":"10.1515/zkg-2023-3005","DOIUrl":null,"url":null,"abstract":"Abstract Long attributed to François-Hubert Drouais or his atelier, a three-quarter length portrait of Marie-Antoinette, together with a curiously inscribed frame, displayed in the lobby of the Hôtel Le Bristol, Paris, serves as a pretext for reconstructing the queen’s practice of gifting portraits of herself to members of her chapel. This essay explores Marie-Antoinette’s tendency in the early part of her reign to entrust the production of portraits to the Cabinet des tableaux. It argues on the basis of stylistic analysis that the Le Bristol portrait was probably the work of Jean-Martial Frédou and on the basis of iconographical analysis that it accommodated the quarrel between philosophes and clerics over reform of the Catholic Church in France, which made it suited to Monsignor du Chilleau, Bishop of Chalon.","PeriodicalId":43164,"journal":{"name":"ZEITSCHRIFT FUR KUNSTGESCHICHTE","volume":"30 1","pages":"0"},"PeriodicalIF":0.1000,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"ZEITSCHRIFT FUR KUNSTGESCHICHTE","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1515/zkg-2023-3005","RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"ART","Score":null,"Total":0}
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Abstract
Abstract Long attributed to François-Hubert Drouais or his atelier, a three-quarter length portrait of Marie-Antoinette, together with a curiously inscribed frame, displayed in the lobby of the Hôtel Le Bristol, Paris, serves as a pretext for reconstructing the queen’s practice of gifting portraits of herself to members of her chapel. This essay explores Marie-Antoinette’s tendency in the early part of her reign to entrust the production of portraits to the Cabinet des tableaux. It argues on the basis of stylistic analysis that the Le Bristol portrait was probably the work of Jean-Martial Frédou and on the basis of iconographical analysis that it accommodated the quarrel between philosophes and clerics over reform of the Catholic Church in France, which made it suited to Monsignor du Chilleau, Bishop of Chalon.
巴黎Hôtel Le Bristol的大厅里陈列着一幅四分之三长的玛丽·安托瓦内特肖像，连同一个奇怪的刻着字的画框，长期以来被认为是弗朗索瓦-休伯特·德鲁埃或他的画室所作，这幅肖像作为借口，再现了女王向教堂成员赠送自己肖像的做法。本文探讨了玛丽-安托瓦内特在其统治初期将肖像制作委托给内阁的倾向。从文体学的角度分析，《布里斯托尔》很可能是让-马夏尔·弗尔萨姆多的作品;从肖像学的角度分析，《布里斯托尔》反映了法国天主教会改革中哲学家和神职人员之间的争论，这使它更适合沙隆主教奇洛阁下。
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