![Wertmüller’s autobiography explains how the portrait came about: “I travelled […] to Versailles and from there to Petit Trianon, where she spent her summers. That is where I painted portraits of her and the Princess, who was six years old at the time. The Queen welcomed me with the greatest of kindness and distinction, and gave the order that I should paint His Highness The Dauphin at La Muette [the residence of the French Crown Prince] while I was here.” […] “I then headed back to Paris and painted a large canvas of natural size and the full length of the person[s].”](http://upload.wikimedia.org/wikipedia/commons/thumb/e/ef/Queen_Marie_Antoinette_of_France_and_two_of_her_Children_Walking_in_The_Park_of_Trianon_-_Nationalmuseum_-_18035.tif/lossy-page1-426px-Queen_Marie_Antoinette_of_France_and_two_of_her_Children_Walking_in_The_Park_of_Trianon_-_Nationalmuseum_-_18035.tif.jpg)
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Adolf Ulrik Wertmüller: Queen Marie Antoinette of France and two of her Children Walking in The Park of Trianon
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Artist |
artist QS:P170,Q116418 |
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Depicted people InfoField | Drottning Marie Antoinette | ||||||||||||||||||||||||||
Title |
English: Queen Marie Antoinette of France and two of her Children Walking in The Park of Trianon Svenska: Drottning Marie Antoinette av Frankrike med två av sina barn promenerande i Trianons park |
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Object type |
painting object_type QS:P31,Q3305213 |
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Genre |
family portrait ![]() |
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Description |
English: Adolf Fredrik Wertmüller was commissioned by King Gustav III to paint this portrait of Marie Antoinette and two of her children. The painting was displayed at the Salon in Paris in 1785, four years before the French Revolution.
Wertmüller’s autobiography explains how the portrait came about: “I travelled […] to Versailles and from there to Petit Trianon, where she spent her summers. That is where I painted portraits of her and the Princess, who was six years old at the time. The Queen welcomed me with the greatest of kindness and distinction, and gave the order that I should paint His Highness The Dauphin at La Muette [the residence of the French Crown Prince] while I was here.” […] “I then headed back to Paris and painted a large canvas of natural size and the full length of the person[s].” Wertmüller ordered two mannequins for his studio in Paris – one for the Dauphin’s portrait and one for the Princess. It was common to lend the portraitist the clothing that you wanted to be depicted in. It is therefore assumed that the costumes in which the mannequins were dressed actually belonged to the Royal children. Wertmüller also ordered a special coiffure from the Queen’s wigmaker Monsieur Léonard, and he is likely to have had access to the robe à la turque (Turkish dress) that Marie Antoinette is wearing in the portrait. Wertmüller portrays the Queen in an environment where she spent much of her time: the gardens surrounding her palace Petit Trianon, near Versailles. It is the Queen’s role as a mother that is highlighted in the portrait, in the spirit of Rousseau. This is a conscious choice, part of a strategy to change the official image of Marie Antoinette from a frivolous foreigner who loved life’s luxuries to the mother of all France. Princess Marie-Thérèse Charlotte has dropped a rose on the ground. Perhaps she pricked herself on a thorn? The dress does have small flecks of blood on it. The Dauphin is holding tightly onto his mother’s dress. Marie Antoinette was 30 years old when the portrait was painted. Louis-Joseph was four. He died three years later of tuberculosis. Marie-Thérèse Charlotte was the only member of the family to survive the Revolution.Svenska: Adolf Fredrik Wertmüller målade det här porträttet av Marie Antoinette och två av hennes barn på beställning av Gustav III. Målningen ställdes ut på Salongen i Paris 1785, fyra år innan den franska revolutionen bröt ut.
I Wertmüllers självbiografi kan man läsa hur arbetet med porträttet gick till: ”Jag reste […] till Versailles och därifrån til lilla Trianon hvarest hon vistades alla somrar. Där målade jag hennes och Princessans portraiter som då var 6 år gammal; drottningen emottog mig med den allra största godhet och distinction, gaf order at jag skulle få måla hans k:höghet le Daphin på la Muette [den franske kronprinsens residens ] hvarest jag var.” […]”Jag styrde sedan tillbaka till Paris och målade en stor tafla af naturlig storlek och person[ernas] fulla längd.” Till sin ateljé i Paris beställde Wertmüller två provdockor – en för kronprinsens porträtt och en för prinsessans. Det var vanligt att man lånade ut kläderna man ville bli avbildad i till porträttkonstnären. Man antar därför att dockorna kläddes i dräkter som var kungabarnens egna. Wertmüller beställde även en särskild håruppsättning av drottningens perukmakare Monsieur Léonard. Han hade förmodligen även tillgång till den robe a la turque (turkiska klän¬ning ) som Marie Antoinette bär i porträttet. Wertmüller framställer drottningen i en miljö där hon tillbringade mycket tid: i parken som omgav hennes slott Petit Trianon, vid Versailles. Det är drottningens roll som mor som lyfts fram i porträttet, helt i Rousseaus anda. Det är ett medvetet val, en del i strategin att förvandla den officiella bilden av Marie-Antoinette från lyxkonsumerande, livsnjutande utlänning till hela Frankrikes moder. Prinsessan Marie-Thérèse Charlotte har tappat en ros på marken. Kanske släppte hon den för hon stack sig på den? Klänningen har små blodfläckar. Kronprinsen, le Dauphin, håller hårt i mammas klänning. Marie-Antoinette var 30 år gammal när porträttet målades. Louis-Joseph var fyra år. Han dog tre år senare i tuberkulos. Marie-Antoinette giljotinerades i samband med den franska revolutionen år 1793 . Marie-Thérèse Charlotte var den enda i familjen som överlevde revolutionen. |
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Depicted people |
Marie Antoinette ![]() |
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Original caption InfoField | English: Adolf Fredrik Wertmüller was commissioned by King Gustav III to paint this portrait of Marie Antoinette and two of her children. The painting was displayed at the Salon in Paris in 1785, four years before the French Revolution.
Wertmüller’s autobiography explains how the portrait came about: “I travelled […] to Versailles and from there to Petit Trianon, where she spent her summers. That is where I painted portraits of her and the Princess, who was six years old at the time. The Queen welcomed me with the greatest of kindness and distinction, and gave the order that I should paint His Highness The Dauphin at La Muette [the residence of the French Crown Prince] while I was here.” […] “I then headed back to Paris and painted a large canvas of natural size and the full length of the person[s].” Wertmüller ordered two mannequins for his studio in Paris – one for the Dauphin’s portrait and one for the Princess. It was common to lend the portraitist the clothing that you wanted to be depicted in. It is therefore assumed that the costumes in which the mannequins were dressed actually belonged to the Royal children. Wertmüller also ordered a special coiffure from the Queen’s wigmaker Monsieur Léonard, and he is likely to have had access to the robe à la turque (Turkish dress) that Marie Antoinette is wearing in the portrait. Wertmüller portrays the Queen in an environment where she spent much of her time: the gardens surrounding her palace Petit Trianon, near Versailles. It is the Queen’s role as a mother that is highlighted in the portrait, in the spirit of Rousseau. This is a conscious choice, part of a strategy to change the official image of Marie Antoinette from a frivolous foreigner who loved life’s luxuries to the mother of all France. Princess Marie-Thérèse Charlotte has dropped a rose on the ground. Perhaps she pricked herself on a thorn? The dress does have small flecks of blood on it. The Dauphin is holding tightly onto his mother’s dress. Marie Antoinette was 30 years old when the portrait was painted. Louis-Joseph was four. He died three years later of tuberculosis. Marie-Thérèse Charlotte was the only member of the family to survive the Revolution.Svenska: Adolf Fredrik Wertmüller målade det här porträttet av Marie Antoinette och två av hennes barn på beställning av Gustav III. Målningen ställdes ut på Salongen i Paris 1785, fyra år innan den franska revolutionen bröt ut.
I Wertmüllers självbiografi kan man läsa hur arbetet med porträttet gick till: ”Jag reste […] till Versailles och därifrån til lilla Trianon hvarest hon vistades alla somrar. Där målade jag hennes och Princessans portraiter som då var 6 år gammal; drottningen emottog mig med den allra största godhet och distinction, gaf order at jag skulle få måla hans k:höghet le Daphin på la Muette [den franske kronprinsens residens ] hvarest jag var.” […]”Jag styrde sedan tillbaka till Paris och målade en stor tafla af naturlig storlek och person[ernas] fulla längd.” Till sin ateljé i Paris beställde Wertmüller två provdockor – en för kronprinsens porträtt och en för prinsessans. Det var vanligt att man lånade ut kläderna man ville bli avbildad i till porträttkonstnären. Man antar därför att dockorna kläddes i dräkter som var kungabarnens egna. Wertmüller beställde även en särskild håruppsättning av drottningens perukmakare Monsieur Léonard. Han hade förmodligen även tillgång till den robe a la turque (turkiska klän¬ning ) som Marie Antoinette bär i porträttet. Wertmüller framställer drottningen i en miljö där hon tillbringade mycket tid: i parken som omgav hennes slott Petit Trianon, vid Versailles. Det är drottningens roll som mor som lyfts fram i porträttet, helt i Rousseaus anda. Det är ett medvetet val, en del i strategin att förvandla den officiella bilden av Marie-Antoinette från lyxkonsumerande, livsnjutande utlänning till hela Frankrikes moder. Prinsessan Marie-Thérèse Charlotte har tappat en ros på marken. Kanske släppte hon den för hon stack sig på den? Klänningen har små blodfläckar. Kronprinsen, le Dauphin, håller hårt i mammas klänning. Marie-Antoinette var 30 år gammal när porträttet målades. Louis-Joseph var fyra år. Han dog tre år senare i tuberkulos. Marie-Antoinette giljotinerades i samband med den franska revolutionen år 1793 . Marie-Thérèse Charlotte var den enda i familjen som överlevde revolutionen. |
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Date |
1785 date QS:P571,+1785-00-00T00:00:00Z/9 |
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Medium |
Svenska: Olja på duk. Krön 32 cm |
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Dimensions |
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Collection |
institution QS:P195,Q842858 |
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Accession number |
NM 1032 |
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Exhibition history |
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Inscriptions |
Svenska: Signerad: A: Wertmüller. Svedois. à Paris 1785 |
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References | |||||||||||||||||||||||||||
Source/Photographer | Erik Cornelius / Nationalmuseum | ||||||||||||||||||||||||||
Permission (Reusing this file) |
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current | 02:17, 8 October 2016 | ![]() | 3,262 × 4,588 (42.85 MB) | <bdi>AndreCostaWMSE-bot</bdi> | {{Artwork |other_fields_1 = {{depicted person|Drottning Marie Antoinette|style=information field}} |artist = {{Creator:Adolf Ulrik Wertmüller}} |title = {{en|Queen Marie Antoinette of France and two... |
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Camera manufacturer | NIKON CORPORATION |
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Camera model | NIKON D2X |
Author | Nationalmuseum |
Exposure time | 1/100 sec (0.01) |
F-number | f/6.3 |
ISO speed rating | 100 |
Date and time of data generation | 09:14, 13 October 2009 |
Lens focal length | 60 mm |
Width | 3,262 px |
Height | 4,588 px |
Bits per component |
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Compression scheme | Uncompressed |
Pixel composition | RGB |
Image data location | 35,686 |
Orientation | Normal |
Number of components | 3 |
Number of rows per strip | 4,588 |
Bytes per compressed strip | 44,898,168 |
Horizontal resolution | 300 dpi |
Vertical resolution | 300 dpi |
Data arrangement | chunky format |
Software used | Adobe Photoshop CS4 Windows |
File change date and time | 12:52, 14 October 2009 |
Exposure Program | Manual |
Exif version | 2.21 |
Date and time of digitizing | 09:14, 13 October 2009 |
Shutter speed | 6.643856 |
APEX aperture | 5.310704 |
Exposure bias | 0 |
Maximum land aperture | 3 APEX (f/2.83) |
Metering mode | Pattern |
Light source | Flash |
Flash | Flash did not fire |
DateTimeOriginal subseconds | 57 |
DateTimeDigitized subseconds | 57 |
Color space | Uncalibrated |
Sensing method | One-chip color area sensor |
File source | Digital still camera |
Scene type | A directly photographed image |
Custom image processing | Normal process |
Exposure mode | Manual exposure |
White balance | Manual white balance |
Digital zoom ratio | 1 |
Focal length in 35 mm film | 90 mm |
Scene capture type | Standard |
Scene control | None |
Contrast | Soft |
Saturation | Normal |
Sharpness | Soft |
Subject distance range | Unknown |