Description
Professional women artists were rare in the 1730s. The Royal Academy of Painting and Sculpture, which controlled artistic education and competitive art exhibitions called salons, was closed to women. Instead, artistic careers were traditionally limited to those born into families of artists, who could be trained by a male relative. The subject of this portrait probably belonged to such a clan. The presentation here emphasizes the sitter’s luxurious attire, including a swansdown scarf and a damask morning gown, as well as her vocation: she sits confidently before her easel, her palette in hand.
Provenance
By descent in the Dumont family of artists; Augustin Alexandre Dumont (1801-1884); at his death to Mme Leo Ginain, his first wife; by descent to her son-in-law, Dr. E. Audard, Paris [Doria 1929; letter of December 11, 1981, from Daniel Wildenstein to Susan Wise in curatorial file, and Copenhagen, 1935]; sold by Audard to Wildenstein, 1925 [see Wildenstein letter cited above]; Wildenstein, Paris, to at least 1935 [Wildenstein lent the painting to Copenhagen 1935]. Virginia M. (Mrs. Moritz) Rosenthal (died 1945), New York, by 1942; sold Parke-Bernet, New York, April 13–14, 1945, no. 202 (ill.), as Carle Vanloo, Anne Coypel, for $7, 500 [Rosenthal lent the painting to New York 1942; the price in 1945 is recorded in an annotated sale catalogue at the Art Institute]. Sold Christie’s, London, June 29, 1973, no. 14 (ill.), as Carle Vanloo, Portrait of a Lady Artist Said to Be Madame Coypel, to LeJeune [according to Christie’s price list]. Sold Christie’s London, May 3, 1974, no. 71, as Carle Vanloo, Portrait of a Lady Artist Said to Be Madame Coypel, to Anton [according to Christie’s price list]. Sold Palais Galliera, Paris, June 7, 1974, no. C (ill.), as Carle Vanloo. Galerie Heim, Paris, by 1975 [Paris, 1975]; sold to the Art Institute, 1981.
