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| Charles-Marin de La Haye des Fossés, fermier général du roi, 1773. |
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Portrait of a lady, 1783.
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| Prince Frederick Adolph of Sweden, Duke of Ostrogothia, 1770. |
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| Marie-Françoise Filleul, marquise de Marigny, 1767. |
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| Princess Natalia Petrovna Golitsyna, née Chernysheva, 1777. |
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| Madame Henri-Pierre Goüin, née Anne-Marie-Renée Le Roux de Broons, 1787. |
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| Jean-Baptiste-Eugénie Dumangin (or Du Mangin), 1789. |
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Portrait of a lady, 1769.
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| Princess Elżbieta "Izabela" Dorota Czartoryska, née Fleming 1774. |
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| Double portrait of Roslin and his wife, pastel artist Marie-Suzanne Giroust, 1767. |
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| Artist Anne Vallayer-Coster, 1784. |
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| Double portrait, 1754. The identity of the couple is unknown; one possibility is the architect Jean-Rodolphe Perronet and his wife. |
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| Portrait of a lady presumed to be mademoiselle de Fontenay, 1784. |
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| Madame de Merval, née Marie-Anne-Eléonore la Planquois, 1769. |
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| Georges-Marye de Merval, 1769. |
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| Marie-Anne-Eléonore la Planquois and Georges-Marye de Merval, 1769. |
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| Jacques-François Begouën and Jeanne Begouën, née Mahieu, 1781. |
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| Jeanne Begouën, née Mahieu, 1781. |
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| Marie-Suzanne Giroust, wife of the artist, 1770. |
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| Self-portrait, 1790. The portrait on the easel is of King Gustav III of Sweden. |
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| Portrait of a lady said to be mademoiselle Bourgevin de Linas, as a Vestal Virgin, 1756. |
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| Marie-Emilie Cuivilliers, née Boucher, 1779. |
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| Tsarevich Paul Petrovich, later Paul I of Russia, 1777. |
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| Tsarevna Natalia Alexeievna, née Princess Wilhelmina Louisa of Hesse-Darmstadt, 1776. She was the first wife of Paul I (above). (Two images.) |
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| One of my favorite Roslin portraits; it's also one of the most poignant. The Tsarevna is clearly pregnant here; she would die in childbirth only months later. |
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| Lovisa Ulrika of Prussia, Dowager Queen of Sweden, 1775. |
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| Alexandrine-Elisabeth Roslin, the artist's daughter, 1787. The painting looks to have either been left unfinished or to have been damaged. |
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| Marie Romain Hamelin, 1781. |
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Portrait of a lady, 1780.
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| Reichsgräfin von Fries, née Gräfin Anna d'Escherny, circa 1770s. Unlike the other works here, this portrait was done in pastel. |
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| Madame Martin-Pierre Foäche, née Louise Chaussé, 1779. (Sister-in-law of below.) |
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| Pierre-Stanislas Foäche, 1771. |
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| Madame Pierre-Stanislas Foäche, née Rose-Henriette-Agathe de Mondion, 1786. (Wife of above.) |
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| Portrait of a lady, called the marquise de Vaxen, 1778. |
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| Portrait of a lady, called Mademoiselle de Bionville, 1780. |
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Portrait of a man, 1764.
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| Hedvig Elisabet Charlotta, Duchess of Södermanland, future Queen of Sweden and Norway, née Hedwig Elisabeth Charlotte of Holstein-Gottorp, 1775. |
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King Louis XVI wearing the Ordre du Saint-Esprit, 1782. In the background is a quite unflattering portrait bust of his wife, Marie Antoinette.
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| Maria Christina, Duchess of Teschen, née Archduchess Maria Christina Johanna Josefa Antonia of Austria, 1778. (She was an older sister of Marie Antoinette.) |
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| Comtesse de Bavière-Grosberg, 1780. |
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| Prince Vladimir Borisovich Golitsyn, 1762. |
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| Zoie Ghika, a Moldavian princess, 1777. |
Roslin is one of my absolute favorite painters. And I've shared his work many times on this blog. (In fact, please forgive me, but several of the paintings I've featured here have been included in previous posts; they were just too beautiful to leave out!) His best portraits show at least something beyond the elegant façade his subjects display. And in all his work his attention to detail, the precision in describing each bit of embroidery or lace or flower or ribbon, the way the light plays along each texture, is something I find very exciting. (And it's also something that makes me quite jealous.) His palette is exquisite and these portraits are an invaluable history lesson in the fashions of the second half of the eighteenth century..
When preparing a post, I spend a lot of time - a lot! - looking online for the best quality images of sufficient size to include. And I also spend far too much time in Photoshop trying to improve those images that are not quite good enough or big enough, but that are all that's available of a certain work I really want to share. Occasionally, though, I have to admit defeat. Hence this last portrait. There were no better, no larger examples to be had. But I still had to include this fine fellow, with his elven smile and his delicious pink satin suit.
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Portrait of a young man, circa 1780.
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