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Hortense Haudebourt-Lescot (1784 -1845) - Portrait of the son of the artist
Hortense Haudebourt-Lescot (1784 -1845) - Portrait of the son of the artist - Paintings & Drawings Style Louis-Philippe Hortense Haudebourt-Lescot (1784 -1845) - Portrait of the son of the artist - Hortense Haudebourt-Lescot (1784 -1845) - Portrait of the son of the artist - Louis-Philippe Antiquités - Hortense Haudebourt-Lescot (1784 -1845) - Portrait of the son of the artist
Ref : 92854
180 000 €
Period :
19th century
Artist :
Hortense Haudebourt-Lescot (1784 -1845)
Provenance :
France
Medium :
Oil on canvas
Dimensions :
l. 59.06 inch X H. 75.2 inch
Paintings & Drawings  - Hortense Haudebourt-Lescot (1784 -1845) - Portrait of the son of the artist 19th century - Hortense Haudebourt-Lescot (1784 -1845) - Portrait of the son of the artist Louis-Philippe - Hortense Haudebourt-Lescot (1784 -1845) - Portrait of the son of the artist Antiquités - Hortense Haudebourt-Lescot (1784 -1845) - Portrait of the son of the artist
Galerie William Diximus

Furniture and objets d'art of the 18th and 19th centuries


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Hortense Haudebourt-Lescot (1784 -1845) - Portrait of the son of the artist

Antoinette-Cécile-Hortense Haudebourt-Lescot (Dec. 14, 1784 - Jan. 2, 1845)
Portrait of the son of the artist, Louis Philippe Léon Haudebourt (Dec. 1820 - after 1850)
Salon de 1833 (n°1215), oil on canvas, signed Haudebourt Lesc(ot) and dated 1832
(lower right), 65, 35 x 49, 21 in

Exhibited:
Paris, Salon, 1833, n°1215 (Portraits, même numéro).

Literature:
“Exposition au Louvre,” Journal des artistes, March 31, 1833, vol. XIII, p. 224.
S. C., “Salon de 1833. Peinture,” L’Artiste, tome V, p. 194.
Augustin Jal, Les Causeries du Louvre. Salon de 1833, Paris, Charles Gosselin éditeur, 1833, p. 165.

Hortense Haudebourt-Lescot was a celebrated painter during the early decades of the Nineteenth Century and achieved a degree of recognition in her lifetime that was highly unusual for women artists. She was an accomplished dancer and painter. She trained with painter Guillaume
Guillon-Lethière and followed him after he was appointed director at the Académie de France in Rome, where women artists were excluded. She exhibited to the Paris Salons from Rome. Back in Paris, she remained very active in the art world. Marie-Caroline de Bourbon-Siciles, Duchess of
Berry, an astute art collector, was one of her patrons during the Bourbon Restoration. Hortense Haudebourt-Lescot received many royal commissions under the July Monarchy. She was a friend of the greatest artists of the time. At the end of her career, opened her own studio to teach women drawing, on the third floor of her private home at 9 rue La Bruyère.

Nowadays, her paintings continue to arouse the interest of international cultural institutions which acquire them, such as the musée Fabre in Montpellier (Le Meunier, son fils et l’âne, 1819), the Nationalmuseum in Stockholm (Portrait of a woman sketching in Plein-air, 1810s) and the Clark Art
Institute in Williamstown (The Wedding Trip, 1821). The present painting remains a very important piece in the career of Hortense Haudebourt-Lescot as she painted in 1832 the charming portrait of her loving son.

The present painting was exhibited at the 1833 Paris Salon (n°1215) with several of her artworks. Hortense Haudebourt-Lescot was a prolific artist. She used to exhibit many paintings at once, especially since the Salon was the unique art venue where reputations were made and undone.

Hortense Haudebourt-Lescot’s portrait of her son was praised by art critics. At the 1833 Salon, everyone recognized the influence of the English portrait painter Thomas Lawrence and the impact in particular of Charles William Lambton’s portrait. The Parisian audience had discovered it at the Salon of 1827.

"Un portrait d’enfant, par Mme Haudebourt-Lescot, le portrait de son fils, a frappé vivement l’attention. C’est un bel enfant de douze à quatorze ans, à l’air rêveur, bien portant cependant, et dessiné avec amour par sa mère. L’enfant est assis sur un banc de gazon, près d’un rocher; sa pose rappelle un peu trop le petit Lambgton, de Lawrence. Seulement on peut très bien s’expliquer comment l’enfant est venu en ce lieu et comment il pourra en sortir ; ce qu’on ne comprenait guère bien dans l’admirable portrait du peintre anglais. (Sic)
S. C., « Salon de 1833. Peinture », L’Artiste, Tome V, p. 194.

At forty-nine years old, Hortense Haudebourt-Lescot had obtained her peers’ recognition. She was twice awarded the first class gold medal at the Salon of 1819 and at the Salon of 1827. She was portrayed, with a few fellow women painters, on François Joseph Heim’s painting Charles X Distributing Awards to Artists Exhibiting at the Salon of 1824, that recorded the name of the most famous artists of the time. After the display of her son’s portrait, Hortense
Haudebourt-Lescot worked for another ten years before passing away in Paris on January 2, 1845.

French museums hold a large number of Hortense
Haudebourt-Lescot’s paintings and continue to acquire them,
among which: the musée du Louvre, the Domaine national et
château de Versailles, the musée national du cha?teau de
Fontainebleau, the Centre National des Arts Plastiques, the
Fine Arts museums of Montpellier, Rouen, Dijon, Toulouse, Bordeaux, Aix-en-Provence, Besançon, Arras, Libourne, the Library of the Paris Opéra, the muse?e Jean de La Fontaine in Cha?teau-Thierry, the musée Antoine Vivenel in Compiègne. The unprecedented Paris exhibition: Peintres femmes, 1780 - 1830. Naissance d’un combat, in 2021 opened up new perspectives for the study of Hortense Haudebourt-Lescot’s work who is now renowned for being the first artist to broaden the pictorial horizon by renewing the
genre painting focusing on daily lives of the people, far from the paths taken by her male counterparts at the time.

Galerie William Diximus

CATALOGUE

19th Century Oil Painting Louis-Philippe