LOUIS-ROLAND TRINQUESSE (PARIS 1746-1799) JEUNE... Lot 46

LOUIS-ROLAND TRINQUESSE (PARIS 1746-1799) JEUNE FEMME ASSISE (PORTRAIT SUPPOSE DE LOUISE CHARLOTTE MARINI) Sanguine Bears a black ink number lower right: "n° 57 Young lady seating (presumed portrait of Charlotte Marini), sanguine, bears a black ink number lower right: "n° 57" 37 x 23,5 cm - 14,5 x 9,2 in. PROVENANCE Collection Georges B. Lasquin Collection (Lugt 1139a). His sale, Paris, Galerie Georges Petit, 7-8 June 1928, n°224. Christie's sale, March 29, 2012, lot 105. Collection Didier Aaron. BIBLIOGRAPHY Jean Cailleux, The drawings of Louis Roland Trinquesse, Burlington Magazine, n°851, February 1974), cat.n°32, and note 62, ill. 31 (detail) Very little is known of Trinquesse's life. His father was a member of the Confrérie des peintres de La Haye in 1767 and trained by Largillière (for a time it was thought that this was not his father but Louis-Roland Trinquesse himself). Trinquesse was a student of the Royal Academy of Painting and Sculpture from 1769, and received the second medal of the Academy in September 1770, then the first medal in December. He exhibited at the Salon in 1791 and 1793, otherwise known as the "Salon des refusés", which suggests that he was never accepted by the Academy. He exhibited his work at the Salon de la Correspondance from 1779 to 1787. Apart from his appearances at exhibitions, Trinquesse's career can be followed through a number of dated drawings, which range from 1771 to 1797. It seems that Jean Cailleux has identified 34 of them (The drawings of Louis Roland Trinquesse, Burlington n°851, February 1974). The favorite themes of the artist, who devoted a major part of his career to drawing, were portraits and gallant scenes. He was a specialist in studies of young girls caught in everyday situations, for which he focused on the study of clothing, bodices and skirts with ruffles, fringe ornaments and lace, indoor bonnets or large feathered hats, so popular with the elegant women of the 1770s and 1780s. This search for elegance is reflected in the refined attitudes of his models. In the study of a young woman sitting on a chair, it seems that the model is Louise Charlotte Marini. Indeed, certain faces recur more or less regularly in Trinquesse's studies, which allows us to identify most of the young women represented, we especially remember the names of Marianne Franmery, Louise-Élisabeth Bain and Louise-Charlotte Marini. The most frequent model of the artist remains Marianne Franmery, the young woman had curly hair in the English style and fine features. However, differences are notable in the shape of the nose and the arch of the eyebrows in particular. Jean Cailleux makes it possible to identify them thanks to medallions (fig. a, b, c).