#marie suzanne giroust by alexander roslin

[ourstaturestouchtheskies]

taylor swift lyrics x colors x textiles in art – blue

Tim McGraw – Taylor Swift // Portrait of Marie-Joseph Peyre – Marie-Suzanne Giroust 💙 Tim McGraw – Taylor Swift // Lady in the Boudoir – Gustav Holweg-Glantschnigg 💙 A Place in This World – Taylor Swift // Portrait of Prince William Henry, Duke of Gloucester – Jean-Étienne Liotard 💙 Dear John – Speak Now // Young Woman in a Blue Dress – Jacopo Negretti 💙 State of Grace – Red // Portrait of Mrs. Matthew Tilghman and her Daughter – John Hesselius 💙 Red – Red // An Unknown Man – Joseph Highmore 💙 All Too Well – Red // Portrait of a Man with a Quilted Sleeve – Titian 💙 Everything Has Changed – Red // Portrait of the Marquis de Saint-Paul – Jean-Baptiste Greuze 💙 Starlight – Red // Mrs. Richard Brown – John Hesselius 💙 Run – Red // Judith with the Head of Holofernes – Felice Ficherelli 💙 This Love – 1989 // Fair Rosamund – John William Waterhouse 💙 Delicate – Reputation // Miss Elizabeth Ingram – Joshua Reynolds 💙 Gorgeous – Reputation // Marguerite Hessein, Lady of Rambouillet de la Sablière – workshop of Henri and Charles Beaubrun 💙 Dancing with Our Hands Tied – Reputation // George Albert, Prince of East Frisia – Johann Conrad Eichler

Cruel Summer – Lover // Peter August Friedrich von Koskull – Michael Ludwig Claus 💙 Lover – Lover // Lady Oxenden – Joseph Wright of Derby 💙 Miss Americana & the Heartbreak Prince – Lover // Portrait of Ivan Ivanovich Betskoi – Alexander Roslin 💙 Paper Rings – Lover // Young Woman in a Blue Dress – Jacopo Negretti 💙 London Boy – Lover // Queen Henrietta Maria with Sir Jeffrey Hudson – Anthony van Dyck 💙 Afterglow – Lover // Portrait of Prince Dmitry Mikhailovich Golitsyn – Fyodor Rokotov 💙 Christmas Tree Farm – Christmas Tree Farm // Portrait of Mary Ruthven, Lady van Dyck – Anthony van Dyck 💙 invisible string – folklore // Two Altar Wings with the Visitation of Mary – unknown artist 💙 invisible string – folklore // Portrait of Madame de Pompadour – François Boucher 💙 peace – folklore // Fair Rosamund – John William Waterhouse 💙 hoax – folklore // Portrait of Charles le Normant du Coudray – Jean-Baptiste Perronneau 💙 coney island – evermore // Portrait of the Marquis de Saint-Paul – Jean-Baptiste Greuze 💙 Carolina – Carolina // Mrs. Daniel Sargent – John Singleton Copley 💙 Bejeweled – Midnights // Elsa Elisabeth Brahe – David Klöcker Ehrenstrahl 💙 The Great War – Midnights // Portrait of Françoise Marie de Bourbon – attributed to François de Troy 💙 Hits Different – Midnights // Mrs. Benjamin Pickman – John Singleton Copley

[artthatgivesmefeelings]

Alexander Roslin (Swedish, 1718-1793) Marie-Suzanne Giroust (1734-1772) wife of Alexander Roslin, 1770

[gogmstuff]

1770s dress -

Top  1770 Marie-Suzanne Giroust (1734-1772), wife of Alexander Roslin by Alexander Roslin (location ?). From tumblr.com/lenkaastrelenkaa 2048X2616.

Second row  1774 Hedvig Elisabeth Charlotta by Alexander Roslin (Nationalmuseum - Stockholm, Sweden). From Wikimedia.

Third row left  1770s Lady by Alexander Roslin (location ?). From tumblr.com/silverfoxstole; fixes spots & some cracks w Pshop 2048X2576.

Third row right  1777 Jeune femme de qualite by Jean Laurent Mosnier (auctioned by Christie's). From invaluable.com-auction-lot-jean-laurent-mosnier-paris-1743-1744-1808-saint-p-67-c-9e67941402 3157X3164. An early appearance for a zone bodice.

Fourth row left  1779 Adrienne Sophie, Marquise de Montesson by A. St. Aubin. From invaluable.com 2531X3548.

Fourth row right  1779 Louise Emilie, Baroness of Andlau by A. Saint-Aubin. From invalueable.com 22528X3536.

Fifth row  1779 Varvara Golytsyna by Dmitry Grigoryevich Levitsky (auctioned by Sotheby's). From Wikimedia; exposure +15% contrast -20% 1561X2000.

Sixth row  ca. 1775 Duc de Choiseul, his mistress, the Comtesse de Brionne and the Abbé Barthélmy (Getty Museum - Los Angeles, California, USA). From the Google Art Project; increased exposure 981X782.

Seventh row  Antonio Ghidini and his family by Pietro Melchiorre Ferrari (Labirinto della Masone - ). From tumblr.com/history-of-fashion 2048X2833.

[detournementsmineurs]

"The Master (Félix Thiollier)" de Sara-Vide Ericson (2023) sous " "L'Artiste Marie Suzanne Giroust-Roslin" par Alexander Roslin (circa 1770), "FEmme Inconnue" par Alexander Roslin (1718-1793) et "Femme Inconnue" par Per Kraft le Vieux (1747) à l'exposition “Desire of Tail : Sara-Vide Ericson” à l'Institut Suédois dans Le Marais, Paris, octobre 2023.

[vcam1952]

Alexander Roslin | The Artist and his Wife Marie Suzanne Giroust painting the Portrait of Henrik Wilhelm Peill, 1767 #roccoco (at Llansanffraid Glan Conwy) https://www.instagram.com/p/CmTQ7RRjjzF/?igshid=NGJjMDIxMWI=

[piecesofmasterpieces]

Portrait of French painter, miniaturist, and pastellist Madame Marie-Suzanne Giroust, details, by her husband Swedish painter Alexander Roslin, 1770

[mjnearthistory]

Alexander Roslin, The Lady with a Fan (The Artist's Wife - Marie-Suzanne Giroust), 1768

[books0977]

The Lady with the Veil. The Artist's Wife Marie Suzanne Giroust (1768). Alexander Roslin (Swedish, 1718-1793). Oil on canvas. Nationalmuseum. The veiled beauty in Alexander Roslin’s portrait is his wife, Marie Suzanne Giroust, who was herself a prominent artist. She is dressed for a fancy-dress ball, in the Bolognese style. The attraction of this image builds very much on a play of opposites, such as intimate–inaccessible and seductive–reserved.

[lionofchaeronea]

Self-Portrait with His Wife Marie-Suzanne Giroust Painting Heinrik William Peill’s Portrait, Alexander Roslin, 1767

[widvile-blog]

Marie-Suzanne Giroust, Madame Roslin (9 March 1734 - 31 August 1772)

[boredmariedelline]

VADD Paintings Aesthetic #2

Yvonne Eckhart

Portrait of Maria Luisa of Parma, Queen of Spain by Anton Raphael Mengs, 1765 | Portrait of Mathilde de Canisy, Marquise d'Antin by Jean-Marc Nattier, 1738 | Portrait of Madame Adélaïde de France by Jean-Marc Nattier 1756 | Portrait of Portrait of Elizabeth-Ann Haryett, Countess of Beauregard by Henriette Cappelaere, 1850 | Portrait of Zinaida Yusupova by François Flameng, 1894 | Portrait of Marie-Suzanne Giroust by Alexander Roslin, 1770

[artfoli]

Details in Pink 

Afternoon Tea for Three, by Frédéric Soulacroix.

The Love Letter, 1750, by François Boucher.

La Soirée, by Vittorio Reggianini.

Flirtation, by Frédéric Soulacroix.

Une Beauté en Rose, by Marie-Félix Hippolyte-Lucas.

The Artist Marie Suzanne Giroust, 1770, by Alexander Roslin.

Portrait of Mary, Countess of Howe, 1764, by Thomas Gainsborough.

La Jeune Musicienne, 1788, by Michel Garnier.

[my18thcenturysource]

Costume Analysis: Kitty, from BBC Ghosts.

Show: BBC Ghosts, Series 1.

Character: Kitty, played by Lolly Adefope.

Costume Design: Lucy Williams.

Set: 18th century England (for this particular character)

Yeii!! The long awaited and asked for post about Kitty IS FINALLY HERE. I’m so sorry for the wait XD I just wrote and lost this post so many times that I just could not post it properly! Sorry!

ANYWAY, let’s start with saying that Lolly Adefope is PERFECT in this role: she sweet and hilarious. Love her.

Now, let’s take a look at her general look: she’s wearing a purple robe à l’anglaise, with an open front, matching stomacher, and contrasting petticoat. The decorations on the gown match the petticoat, so it’s a nice colour play to see on the screen. She shows the lace engageantes (cuffs) coming out of the sleeves, and wears a semi-sheer fichu to cover her cleavage.

Thanks to the robes à l’anglaise and à la française post we all know that the front of Kitty’s dress could look different, but the chosen option is perfectly ok, and we also know that this dress evolved from the mantua with its back fitted with pleats) and became a very English gown, so the choice works great (even though I live for a French gown, this was the right choice). Judging by the gown’s silhouette and the hairstyle, Kitty died sometime in the 1760s or early 1770s.

That being said, let’s take a look at some more detailed takes (I might be too picky, sorry) about this whole outfit that I find odd and would like to change:

The fit. Somehow it looks that this dress is not structured enough nor fit properly for the actress, just looking at the way that the shape of her breasts is visible on the sides, or the way that the front curves inward at the top of the stomacher, is really weird. I really REALLY hope that the body shape of Lolly Adefope was not an excuse for this shitty fit because SHE PERFECT, OK? Now, What would I do? I’d lower the neckline of the stomacher to give the gown a more accurate feel for the 18th century, and keep the fichu covering the skin. I’d add fully boned stays to give the torso de proper conical shape, and (bigger) panniers to create the more striking contrast that is characteristic of the 18th century silhouette.

The trims. The trims are ridiculously small. The 18th century was all about go big or go home, so why do I see pleated satin RIBBON as the zig-zaging decoration of the torso, VERY small bows for the stomacher, and ridiculously tiny bows on the cuffs? WHY?!

As a fashion designer, you are to give balance to the garment, and of course to the garment ON a particular person. So, instead of the pleated ribbon, I’d let the big vertical pleats of the front to show themselves (I think they look pretty!), I’d make big bows of the same fabric for the stomacher, add a big ruffle on the sides of the front opening of skirt of the gown, and eliminate the cuff bow and just let the cuff show its pleats. I personally prefer everything on the same fabric, but if the camera reads better a contrasting petticoat and trims, go for them! JUST MAKE THEM BIGGER. I’d take the front of this dress as an inspiration:

Robe à la française, 1760s, Fashion Museum Bath.

The fabric. For a spectacular 18th century gown, the fabric is VERY important, especially if a brocade is going to be used. The purple fabric on this gown is small and kind of sad, since 18th century brocades tend to have bigger and/or contrasting motives. So, If a wonderful fabric is not to be found, I would stick to plain taffeta, since it looks great, is accurate, there are many colours to choose from, it’s very noble to sew, holds the shapes perfectly, all pleats look great, and (important for costume design), it can be found in several price points.

I perfectly understand the choice of avoiding any flashy fabrics or colours for Kitty (given her character), so I get the lack of colourful brocade, painted silk or stripes, so the right choice would be plain taffeta if a good brocade of a single colour is not found. Here some brocade ideas:

robe à l’anglaise, ca. 1747, altered 1770s // robe à l’anglaise, 1750-75 // robe à l’anglaise, ca. 1770 // robe à l’anglaise, 1740-60 // all British, all from The Metropolitan Museum of Art

The cuffs. I don’t hate the cuffs of the dress, and I like that they match the pleats of the open front, but I’d add a second row for the lace cuffs. It looks poor, or too small for the outfit.

Finally, let’s jump to beauty:

Hair. I LOVE THE HAIR. And I love that they used the natural texture of Black hair for the hairstyle (I think that the front puff is her hair and the rest is not, since the colour is different). Making her to wear a full wig with a hairstyle clearly referenced on White people’s hair would have been an easy (and lazy) choice, so I’m very happy they didn’t. They took good note of the choices made in Belle (2013) with Gugu Mbatha-Raw’s hairstyles, and made it work for  Lolly Adefope curlier and shorter hair.

Now, the secret for the death date of Kitty I give above is mostly her hairstyle, which is clearly from the 1760s or the first part of the 70s (before they went crazy with the size and height of hair). During the 1760s, the hair began to get higher (being about ¼ or ½ the length of the face), and it was styled in a relatively simple way in an egg shape an added a few decorations, like ribbons, pearls, flowers and feathers.

Portrait of a woman, ab. 1760-1780, Alessandro Longhi // Marie Suzanne Giroust Roslin,1770, Alexander Roslin // Maria Carolina de Habsburgo-Lorena, 1768, Anton Rafael Mengs // Portrait of Marie Antoinette, 1773, François-Hubert Drouais

Makeup. The makeup is clearly thought to appeal to a modern audience, so it’s pretty natural and rosy, which works for the character and the overall look of the show. Would I prefer a more accurate and extreme make? Not really? It doesn’t look like Kitty died during a party night or something like that, so having her with minimal makeup makes sense, and also the historical makeup would totally change the perception we as audience have of Kitty, since it’s much more exaggerated than our modern makeup.

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So, what do you all think? Was a little too picky? I mean, I hope I didn’t become one of those anal people who demand historical accuracy in media that is not required to. I try (with all my costume critiques) to step into the mind and work of a costume designer and improve the costumes through those lenses.

Thinking about what the costumes are for (tell us about the character, define the character aesthetic as an individual and within the show, set the time and place), the costume design of the show do all those things in a proper manner, so I think we can play and get a little picky with the details and how much we would like to make the show look better :)

Thank you for coming to my TEDtalk.

Let me know your comments in a reblog or comment or ask or message XD

[steliosagapitos]

     Portrait of the Artists Wife Marie Suzanne, nee Giroust Painting by Alexander Roslin.

[life-imitates-art-far-more]

Alexander Roslin (1718-1793) "The Lady with the Veil (The Artist's Wife)" (1768) Oil on canvas Located in the Nationalmuseum, Stolkholm, Sweden Marie-Suzanne Giroust, (1734-1772), also known as Madame Roslin, was a painter, miniaturist, and pastellist known for her portraits. As of today, only a small number of her works have been identified.

[vcam1952]

Alexander Roslin | The Artist and his Wife Marie Suzanne Giroust painting the Portrait of Henrik Wilhelm Peill, 1767 (at Royal Oak, Michigan) https://www.instagram.com/p/CfykH_qu8CS/?igshid=NGJjMDIxMWI=