Loeb Danish Ardt Collection - page 299

be set with diamonds. In her right hand, she holds a mask. She sits by a table with an exquisite bouquet of
flowers that is typical of Jens Juel.
In the rest of Europe, it had long been common to paint the noble ladies of the time in this kind of
apparel, though most often with balloon pants. According to the Danish costume researcher Ellen Ander-
sen, the style was called circassienne, which is to say a traditional folk costume from Circassia in Caucasus.
²
Among the most well-known are Carle van Loo’s (


) two paintings of the mistress of the French
King Louis XV, Marquise de Pompadour (


), in Turkish apparel from

. We do not know if Jens
Juel was familiar with them, but copper-engraved replicas of them circulated under the titles “La Sultane”
(The Sultana) and “La Confidente” (The female confident). They were painted as overdoors in her bed-
room, decorated in Turkish style at Château de Bellevue, which the King had built for her just outside of
Paris, and the interior is depicted in the paintings. One of them shows Pompadour taking a cup of coffee,
brought to her by a black female slave. The other shows her sitting on a low divan by her embroidery, con-
versing with a friend who is likewise in Turkish attire.
³
It was more comfortable than the laced corsets of
the rococo era, and is also seen in the fashion journals of the time.
During his studying trip, Jens Juel copied a painting of a lady in Turkish attire (Ellen Poulsen no.

) by
the Italian Pietro Longhi (


). In addition, during his stay in Geneva, Switzerland late in the

s, he
painted portraits of ladies in similar costumes,
Jeanny Françoise Turrettini, née Boissier
(

, Ellen Poulsen,
no.

),
Suzanne de la Rive, née Tronchin
(

, Ellen Poulsen no.

and

), and
Jacqueline H.E. Sénebier, née
Morsler
(

, Ellen Poulsen no.

). In Geneva, the Turkish was especially topical, as Jean-Étienne Liotard
(


), called “the Turkish painter,” in

had returned to his hometown after a career with several
European princely houses. He had lived in Constantinople (Istanbul)


, keenly painting and drawing
the unfamiliar apparel and interiors. When he returned to Europe, he continued to wear Turkish attire, and
even donned a long beard, quite contrary to the fashion of the time. Liotard was known for his portraits of
Europeans in Turkish costumes, e.g. in

, whilst being a French court painter, he painted Madame Ade-
laïde de France (


), daughter of Louis XV. In Geneva, Jens Juel has had the opportunity of seeing
his works.
Princess Louise Augusta did not have a Turkish cabinet, but she sits on a divan-like red pillow with a
golden tassel, just as the thick, decorated table carpet seems oriental. On the other hand, the table is of
European height. The fur-adorned coat, the belt with medallions and the mask are repeated in numerous
other European portraits of ladies. In spite of its modest format, the painting is a full princely portrait with
the traditional set pieces, the drapery and the column, as background.
However, the composition is not the invention of Jens Juel. There exists an aquarelle drawing (National
Gallery of Denmark, inv.no.

) (Fig. B) and a similar miniature (Rosenborg Castle, inv.no.

-

) by Cor-
nelius Høyer (


), that both depict the sister of Christian VII, Princess Louise of Denmark
(


), married to Carl, Landgrave of Hessen-Kassel (


) in Turkish attire with balloon pants.
She too sits with a mask in her hand by a table with a flower bouquet, and in the background, a drapery is
seen. Jens Juel most likely did not known the works of Cornelius Høyer, which were carried out in

at
Gottorp Castle in Schleswig, where the Princess lived with her consort, and Juel was still abroad when the
miniature was displayed at the Salon at Charlottenborg in

. One must therefore conclude that the com-
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