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拍品專文
Four other self-portraits by Van Loo are recorded by Dr. Christine Rolland in her 1994 thesis: Louis Michel Van Loo painting the portrait of his father Jean Baptiste Van Loo (Musée de Versailles), which was presented by the artist to the Académie Royale in 1762 for the gallery of Academician's portraits; Louis Michel Van Loo painting the portrait of his father with his sister advising him, (907/8in. high, and also at Versailles) which was one of the most admired paintings at the Salon of 1763; and two oil studies for the 1763 Self-portrait in the collection of the Musée de Versailles (one of which is on deposit at the Musée Cheret, Nice). In addition to the above, Juan Luna has also identified another self-portrait in the Petit Palais, Paris, which is of a similar format to the present painting, and he dates it to circa 1740 (see J. Luna, Louis Michel Van Loo Miscelanea Pictoria, Urteraria, 1987, Museo de Bellas Artes de Bilbao, pp. 7-17).
The present work is the most intimate of the self-portraits. The artist's simple, informal attire gives no indication of his position as a regular portraitist of the King and his court, nor of his standing as a Knight of the order of Saint-Michel. By presenting himself as a working draftsman, with pencil and folio in his hands, Van Loo may have been alluding to his position as Director of the École Royale des Élèves protégés, which he held from 1765 until his death in 1771. Furthermore, Dr. Rolland suggests that this self-portrait may have been intended to emphasize the importance of drawing to his students.
An affable and popular figure, Van Loo was described by his comtemporary Grimm: 'En s'approchant de Michel on se trouvait comme dans une atmosphère d'honnêteté; ...et avec elle un calme, une sérénité qui vous rafraichissait le sang. Sans le connâitre on aimait être assis à côté de lui, sans autre raison que parce que l'honnête homme se repose délicieusement à côté de l'honnête homme. Je n'ai jamais connu une physionomie plus honnête que celle de Michel; c'était celle de son âme. Il vivait avec sa tante, la veuve de Carle, avec sa soeur, sa nièce; il était l'ami, le chef, le père de toute la famille', Grimm, Correspondance littéraire, reprinted Tourneux, IX, 1879, p. 287.
The present self-portrait formerly belonged to Félix Doisteau, one of the greatest collectors of French miniature paintings of the 18th and 19th centuries, who donated his collection to the Musée du Louvre in 1922. A miniature executed after the present painting, attributed to Jean-Baptiste Weyler (1747-1791), was offered in the Emile Artus sale, Galerie Charpentier, Paris, 14 May 1950, lot 326.
We are grateful to Dr. Rolland for her assistance in the cataloguing of this lot.
The present work is the most intimate of the self-portraits. The artist's simple, informal attire gives no indication of his position as a regular portraitist of the King and his court, nor of his standing as a Knight of the order of Saint-Michel. By presenting himself as a working draftsman, with pencil and folio in his hands, Van Loo may have been alluding to his position as Director of the École Royale des Élèves protégés, which he held from 1765 until his death in 1771. Furthermore, Dr. Rolland suggests that this self-portrait may have been intended to emphasize the importance of drawing to his students.
An affable and popular figure, Van Loo was described by his comtemporary Grimm: 'En s'approchant de Michel on se trouvait comme dans une atmosphère d'honnêteté; ...et avec elle un calme, une sérénité qui vous rafraichissait le sang. Sans le connâitre on aimait être assis à côté de lui, sans autre raison que parce que l'honnête homme se repose délicieusement à côté de l'honnête homme. Je n'ai jamais connu une physionomie plus honnête que celle de Michel; c'était celle de son âme. Il vivait avec sa tante, la veuve de Carle, avec sa soeur, sa nièce; il était l'ami, le chef, le père de toute la famille', Grimm, Correspondance littéraire, reprinted Tourneux, IX, 1879, p. 287.
The present self-portrait formerly belonged to Félix Doisteau, one of the greatest collectors of French miniature paintings of the 18th and 19th centuries, who donated his collection to the Musée du Louvre in 1922. A miniature executed after the present painting, attributed to Jean-Baptiste Weyler (1747-1791), was offered in the Emile Artus sale, Galerie Charpentier, Paris, 14 May 1950, lot 326.
We are grateful to Dr. Rolland for her assistance in the cataloguing of this lot.