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Portrait de Diane, levrette de Bergeret | François-André Vincent | 1774

Portrait de Diane, levrette de Bergeret | François-André Vincent | 1774

€32,95
€32,95
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About the artwork:

This portrait by French neoclassical painter François-André Vincent depicts Diane, the small greyhound owned by his friend and patron Bergeret de Grancourt. The work elevates an animal subject with a compositional dignity typically reserved for human sitters, placing the dog against elegant drapery and luxurious textures that reflect both affection and a subtle challenge to conventional portraiture norms of the 18th century. Painted during the artist’s early mature period, the piece engages with the Enlightenment interest in naturalism and domestic life while also showcasing Vincent’s refined handling of paint and character. The painting is held in the Musée des Beaux-Arts et d’Archéologie in Besançon, where it contributes to an understanding of how animal portraiture intersected with social and artistic currents of its time.

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  • Title Portrait de Diane, levrette de Bergeret (Portrait of Diane, Bergeret's Whippet)
  • Artist François-André Vincent (French Neoclassical painter; Paris, 30 December 1746 - Paris, 4 August 1816; pupil of Joseph-Marie Vien; Grand Prix de Rome 1768; pensionnaire of the French Academy in Rome 1771-1775; one of the leading rivals of Jacques-Louis David in the next generation; husband of the pastellist Adélaïde Labille-Guiard)
  • Year of creation 1774 (painted in Rome in February 1774, while Vincent was a resident pensionnaire at the Académie de France in Rome [Villa Medici], where he had been studying since 1771 after winning the Grand Prix de Rome. Pierre-Jacques-Onésyme Bergeret de Grancourt, a wealthy fermier général and one of the great patrons of French art of the late ancien régime, was at this moment in Rome on the famous Italian voyage he undertook in 1773-1774 with Fragonard and Madame Fragonard. Vincent, then a young pensionnaire, was taken into Bergeret's circle and the two became close — Vincent offered this portrait of Diane to Bergeret in gratitude for the patron's interest in his work. The sittings for the matching Portrait of Bergeret himself, also at Besançon, probably began on 12 March 1774. The compositional joke turns convention upside down: Diane, Bergeret's little white whippet / Italian greyhound, is given the affected, ceremonial, mock-aristocratic treatment normally reserved for noble human sitters of the highest rank — installed languidly on a sumptuous blue velvet cushion, her left front paw delicately flexed, her head dédaigneusement turned away so as not to deign to meet the painter's gaze — while the matching Portrait of Bergeret depicts the master himself in a fantastical, mock-historical guise. The result is a far more radical reversal of the conventional pet portrait than anything in Oudry's earlier royal hound paintings, the wit and the affection equally in evidence, and an early demonstration of the sophisticated, ironic intelligence that would mark Vincent's entire career)
  • Technique/Medium Oil on canvas
  • Original dimensions 61 x 73.5 cm
  • Collection/Museum Musée des Beaux-Arts et d'Archéologie de Besançon, France (acquired in 1992, alongside the companion Portrait of Bergeret de Grancourt by the same artist)

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