The Resplendent Outfit: The outrageous, extravagant, often humorous, and sometimes beautiful outfits worn by the subjects of old portraits; a little history occasionally thrown in the mix.
François Gérard (French, 1770–1837) • Portrait of Napoleon I in coronation robes • Between 1805 and 1815 • Rijksmuseum, Amsterdam, Netherlands
Although Napoleon's attire in the portrait above was reflective of a man of his status and power, the style for other men went toward breeches to the knee but with the addition of pantaloons tied just below the knee, reached the ankle; a relatively new development that replaced the breeches to the knee worn with stockings.
William Owen (British, 1769-1825) • Portrait of a Man • c. 1815 • New Haven, Connecticut: Yale Center for British
The man in the portrait above is wearing country or morning attire of breeches (usually made of wool, cotton, or buckskin), tied below the knee with laces, a clawhammer coat, and riding boots.
Around the 1790s, the tail coat changed and breeches began to be lengthened below the knees to accommodate the longer tails, gradually giving way to slimmer fitting, longer pants, or pantaloons, that ended at the ankle. Pantaloons were close-fitting and sometimes buttoned all the way down the leg. Fabrics were knitted or, like kerseymere (a wool with a fancy twill weave) and nankin (a type of cotton), cut on the bias, so that the garment would hug the leg – a shapely leg was a desirable attribute of a fashionable man.
This longer pant marked a transition from previous eras where the breeches were shorter and worn with hose. The jacket style of the late 1700s into the 1800s was instrumental in this transition, being short at the waist in front, with a long back or tails.
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Barbara Childe:
Propaganda:
“Heroine of An Infamous Army. Appears and is instantly described as having "hair like my best copper coal scuttle" Accidentally has an emotional affair with a guy. When it is pointed out to her his wife is mad as hell, decides to do it on purpose because his wife was rude when she was trying to scotch scandal.”
Jérôme Bonaparte
Propaganda:
“Napoleon’s little bro. He was very handsome. His grandson created the FBI, so that’s a thing. The painting of him by Antoine-Jean Gros is awesome. He employed the Grimm brothers (Jacob Grimm was his librarian). Ruled part of Germany (Westphalia). One of Napoleon’s councilors of state, Louis-Philippe de Trémont, described Jérôme as a “half-educated, frivolous, prodigal and effeminate young satrap and sybarite” and if that isn’t just the darnedest description, I don’t what it is.”
The Gros Portrait in question:
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Catherine Hubscher, Maréchale Lefebvre Duchesse de Dantzig, by an anonymous artist circa 1810
Of all the Marshals’ wives, Catherine was one of the most loyal to Napoleon. This did not prevent her from criticising him though, and she did so bluntly when she felt it was deserved. Despite this, Napoleon and Josephine were both very fond of her and while some at court sneered at this woman of most humble beginnings, the Emperor made a point of using her title every time he spoke to her.
On one occasion, when the Duchess of Lusignan snidely remarked “Sire, it pleased your Majesty to drop the title of duchess on Madame Lefebvre”, Napoleon rather coldly shot back “It pleased me to raise the title of duchess to Madame Lefebvre”!
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Whoops, maybe too much zoom on this picture of Lefebvre, but at least you can see him in detail! I want a good crop of this painting for @napoleonic-sexyman-tournament
Intriguingly, and unusual for the time, it was made by a female artist, Césarine Davin.
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