Ronit Milano In Anne-Flore Millet’s portrait of Marie-Antoinette awaiting her execution in the Conciergerie, the queen is seated, in a nearly-monochromatic interior, in front of a grated prison-like window and next to a grisailles-painted sculptural portrait of her husband, King Louis XVI (Figure 6. 1) . Although this representational formula of a sitter next to a bust on a table was common in eighteenth-century imagery, in reality, portrait busts rarely stood on tables within French interiors. This chapter seeks to explore the motivation and aims of the artists using this formula, which communicated a familiar yet imaginary setting. The main argument is that portrait busts in pre- and early Revolutionary France functioned as reflections of certain selfhoods and that, when placed in an interior setting, the bust emblematized mental interiority.
|Title of host publication||Designing the French Interior|
|Subtitle of host publication||The Modern Home and Mass Media|
|Editors||Anca I. Lasc, Georgina Downey, Mark Taylor|
|Place of Publication||London|
|ISBN (Electronic)||9780857857798, 9780857857835|
|State||Published - Oct 2015|