Paris, 1843. Franz Xaver Winterhalter must paint Princess Leonilla of Sayn-Wittgenstein-Sayn. He chooses audacity: an odalisque pose, sensual and orientalizing, ordinarily reserved for harem scenes. Only the unquestionable social rank of his model authorizes such freedom.
Controlled Sensuality
Reclining on a low Turkish divan, Leonilla contemplates the viewer with languor. Her half-closed eyes, her delicately arched eyebrows, her hand playing with the pearls of her necklace: every detail breathes elegance. Winterhalter displays remarkable virtuosity in rendering textures. The ivory silk moiré of the gown captures light with precision. The deep crimson coat cascades over her bare arms. Behind her, a veranda opens onto a lush tropical landscape. The painter contrasts the sumptuous fabrics with the creamy skin to accentuate the sensual dimension.
Orientalism in Service of the Aristocracy
This portrait testifies to the 19th century’s fascination with oriental exoticism. Romantic Europe fantasized about harems and the mysterious Orient. Winterhalter transposes these codes into society portraiture. He creates a sophisticated image where the princess embodies both distinction and refinement. Renowned for her beauty and intelligence, Leonilla appears as a cosmopolitan figure.
Franz Xaver Winterhalter
Official portraitist to European courts, Winterhalter (1805-1873) excelled in the art of flattering his models while remaining faithful to their personality. He painted Empress Eugénie, Queen Victoria, and high society. His style combines academic precision with romantic sensitivity.
Think about it
💭 Why does the odalisque pose, popularized by Ingres and Delacroix, become acceptable in the 1840s?
About this Work
- Portrait of Leonilla, Princess of Sayn-Wittgenstein-Sayn
- Franz Xaver Winterhalter
- 1843
- Oil on canvas
- 142.2 × 212.1 cm (56 × 83 1/2 in.)
- The J. Paul Getty Museum, Los Angeles
- https://www.getty.edu/art/collection/object/103RHJ
