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Louise Marie-Jeanne Hersent-Mauduit

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Louise Marie-Jeanne Hersent-Mauduit
1835 portrait of Hersent by Louise Adélaïde Desnos, one of her students
Born
Louise Marie Jeanne Mauduit

(1784-03-07)7 March 1784
Paris
Died7 January 1862(1862-01-07) (aged 77)
Paris
NationalityFrench
SpouseLouis Hersent
Sketch of Hersent by François Joseph Heim for his large group portrait of artists featuring Charles X Distributing Awards to Artists Exhibiting at the Salon of 1824 at the Louvre, 1827, Louvre

Louise Marie-Jeanne Hersent-Mauduit (7 March 1784 – 7 January 1862) was a French oil painter, primarily of portraits and historical scenes.[1]

From 1810 to 1824, her works were exhibited at the Paris Salon, and she received two first-class medals at the Salon of 1817 and Salon of 1819.[1][2] Jean Baptiste Tardieu engraved several of her works.[1][2]

Portrait of Louise Hersent (1852) by her husband, Louis Hersent

Biography

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Hersent depicted in François Joseph Heim's 1827 painting, Charles X Distributing Awards to Artists Exhibiting at the Salon of 1824

Louise Marie-Jeanne Mauduit was born in Paris on 7 March 1784 to an unknown mother and Antoine-René Mauduit, an architect and mathematician.[1]

In 1810, her works[which?] were first displayed at the Paris Salon, and would be displayed until 1824. Her artworks[which?] obtained first-class medals in 1817 and 1819.[1][2]

She studied under Charles Meynier and possibly her husband, Louis Hersent.[when?]

In 1821, she married the painter Louis Hersent.[3] Her husband is also notable for his portrait and history paintings.[2]

Hersent herself took on female pupils, among them the porcelain painter Marie Virginie Boquet[3] and portrait painter Louise Adélaïde Desnos.

[edit]
  • Portrait of a woman, falsely said to be Pauline Bonaparte,[4] 1806
    Portrait of a woman, falsely said to be Pauline Bonaparte,[4] 1806
  • Nymph, c. 1810
    Nymph, c. 1810
  • Portrait of an anonymous woman, 1812
    Portrait of an anonymous woman, 1812
  • Portrait of a woman holding a book, 1814.
    Portrait of a woman holding a book, 1814.
  • The Good Mother, 1814
    The Good Mother, 1814
  • Madame de Fumel, 1816; possibly prize winner of the 1819 Paris Salon
    Madame de Fumel, 1816; possibly prize winner of the 1819 Paris Salon
  • Elijah Resuscitating the Son of the Widow of Sarepta, 1819; possibly prize winner of the 1819 Paris Salon
    Elijah Resuscitating the Son of the Widow of Sarepta, 1819; possibly prize winner of the 1819 Paris Salon
  • Portrait of a Boy in Green, 1819
    Portrait of a Boy in Green, 1819
  • Portrait of a young woman leaning on a meridienne, 1828
    Portrait of a young woman leaning on a meridienne, 1828
  • Portrait of Monsieur Arachequesne, 1830
    Portrait of Monsieur Arachequesne, 1830
  • Woman in a blue dress, 1831
    Woman in a blue dress, 1831
  • Peter I of Russia and Louis XV of France, (copy after Louise Hersent)
    Peter I of Russia and Louis XV of France, (copy after Louise Hersent)

References

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  1. ^ a b c d e Bénézit, Emmanuel (1924). Dictionnaire Critique Et Documentaire Des Peintres, Sculpteurs, Dessinateurs & Graveurs de Tous Les Temps Et de Tous Les Pays: D-K (in French). R. Roger et F. Chernoviz.
  2. ^ a b c d Mauduit mentioned in biography of her husband Louis Hersent, by Michael Bryan
  3. ^ a b Louise Marie Jeanne Hersent-Mauduit in the RKD
  4. ^ National Inventory of Continental European Paintings : "This portrait of a young woman in a First Empire dress and hair style was bought as a picture of Pauline Bonaparte (1780-1825), sister of Napoleon I and afterwards Princess Borghese. However, she does not look like identified portraits of Pauline, who was very slender and had a very identifiable long thin nose. (...) Comparison with portraits of Pauline Bonaparte (e.g. that by Kinson, Pauline Bonaparte (1808, Museo Napoleonico, Rome) allow to conclude that this is not a portrait of Napoleon's sister. Gérard Hubert of the Ministère de la Culture et de la Communication writes in a letter dated 6 November 1987 that the portrait does not seem to resemble Pauline Bonaparte whose thin and triangular face is well-known thanks to works by Canova, Robert Lefèvre or Kinsoen amongst others. He does not think that the portrait may represent Caroline Bonaparte-Murat either. He adds that in 1806, date of this portrait, the artist would have been very young and unlikely to have been commissioned a portrait by one of Napoleon's sisters"
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