Madame Henri François Riesener (Félicité Longrois, 1786–1847) - Eugène Delacroix
Archival giclée
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Description
A refined portrait by Eugène Delacroix, capturing Félicité Longrois with careful attention to light, texture, and individual character.
This portrait by Eugène Delacroix depicts Félicité Longrois, the wife of the painter Henri François Riesener. Painted around 1835, the work captures the sitter in a moment of quiet observation. Delacroix, a central figure of the French Romantic movement, is often associated with dramatic historical scenes, yet his portraiture reveals a keen ability to render the psychological presence of his subjects. The composition focuses on the sitter against a dark, atmospheric background. Her attire is characteristic of the period, featuring a prominent lace bonnet that frames her face. The delicate, ruffled texture of the lace contrasts with the darker, heavier fabric of her dress. A patterned scarf, rendered with subtle touches of colour, adds a point of visual interest near the neckline. Delacroix employs a restrained palette, allowing the soft light to model the features of the subject with precision. Félicité Longrois was part of a family deeply connected to the artistic circles of early nineteenth-century France. The relationship between the artist and the sitter provides context for the intimacy of the gaze. Delacroix avoids excessive ornamentation, choosing instead to focus on the character of the individual. The brushwork is controlled, reflecting the artist's technical skill in capturing the interplay of light and shadow on fabric and skin. This piece offers a glimpse into the private sphere of the artist's social circle, demonstrating his capacity for subtle characterisation. The work remains a fine example of the portraiture style prevalent in the mid-1830s, balancing formal presentation with a sense of personal familiarity.
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Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Madame Henri François Riesener (Félicité Longrois, 1786–1847) - Eugène Delacroix
Artist Biography
Eugene Delacroix
He was born in Charenton-Saint-Maurice, near Paris. His legal father was a diplomat. His biological father may have been Talleyrand, the foreign minister, which would explain several things about his career including his early access to government commissions. He studied at the Ecole des Beaux-Arts under Pierre-Narcisse Guerin and was influenced by Gericault's The Raft of the Medusa, which showed him that contemporary events could be painted at the scale previously reserved for mythology.
His brushwork was loose and fast by the standards of the Academy. He preferred colour to line, which put him in direct opposition to Ingres, the master of precise contour. The rivalry between Delacroix and Ingres, colour versus drawing, became the central argument of French painting in the mid-nineteenth century. Delacroix won in the long run: the Impressionists claimed him, the Fauves revered him, and Cezanne called him the starting point of modern painting.
He travelled to Morocco in 1832 and came back with notebooks full of colour studies that influenced the rest of his career. The North African light loosened his palette permanently. He died in 1863, at sixty-five, and left a journal that is one of the most intelligent accounts of painting ever written.
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Specific Features
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Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
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Artist Biography
Eugène Delacroix
He was born in Charenton-Saint-Maurice, near Paris. His legal father was a diplomat. His biological father may have been Talleyrand, the foreign minister, which would explain several things about his career including his early access to government commissions. He studied at the Ecole des Beaux-Arts under Pierre-Narcisse Guerin and was influenced by Gericault's The Raft of the Medusa, which showed him that contemporary events could be painted at the scale previously reserved for mythology.
His brushwork was loose and fast by the standards of the Academy. He preferred colour to line, which put him in direct opposition to Ingres, the master of precise contour. The rivalry between Delacroix and Ingres, colour versus drawing, became the central argument of French painting in the mid-nineteenth century. Delacroix won in the long run: the Impressionists claimed him, the Fauves revered him, and Cezanne called him the starting point of modern painting.
He travelled to Morocco in 1832 and came back with notebooks full of colour studies that influenced the rest of his career. The North African light loosened his palette permanently. He died in 1863, at sixty-five, and left a journal that is one of the most intelligent accounts of painting ever written.
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