Alexandre Charles Emmanuel de Crussol-Florensac (1743–1815) 1787 Elisabeth Louise Vigée Le Brun French In one of her most successful portraits, Vigée Le Brun’s sitter rises from a mass of rich fabrics to face us directly, with nonchalant yet piercing blue eyes. The scumbled texture of the background, associated with David, became a hallmark of Neoclassical painting. Crussol-Florensac occupied roles as soldier, captain of the guard to the comte d’Artois, and actor. The moiré blue sash of the order of Saint-Esprit provided an opportunity for painterly virtuosity; the more discreet cross of the K
Alexandre Charles Emmanuel de Crussol-Florensac (1743–1815) 1787 Elisabeth Louise Vigée Le Brun French In one of her most successful portraits, Vigée Le Brun’s sitter rises from a mass of rich fabrics to face us directly, with nonchalant yet piercing blue eyes. The scumbled texture of the background, associated with David, became a hallmark of Neoclassical painting. Crussol-Florensac occupied roles as soldier, captain of the guard to the comte d’Artois, and actor. The moiré blue sash of the order of Saint-Esprit provided an opportunity for painterly virtuosity; the more discreet cross of the Knights of Malta announced the sitter’s celibacy, but he enjoyed a long relationship with the marquise of Grollier, a still-life painter who was also a friend and sitter to Vigée Le Alexandre Charles Emmanuel de Crussol-Florensac (1743–1815). Elisabeth Louise Vigée Le Brun (French, Paris 1755–1842 Paris). 1787. Oil on wood. Paintings
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