Jean Edmé Pascal Martin Delacluze
Portrait miniature of an Hussar Officer, with a scar on his left cheek, mid 19th century
Watercolour on ivory
Oval, 2 ½ inches (6.4 cm) high
Philip Mould & Co.
To view all current artworks for sale visit philipmould.com The present work is a rare example by French portrait miniature painter Delacluze, an artist patronised by the highest echelons...
To view all current artworks for sale visit philipmould.com
The present work is a rare example by French portrait miniature painter Delacluze, an artist patronised by the highest echelons of French society. A multi-faceted artist, Delacluze also worked in watercolour and oils, exhibiting at the Paris Salon between 1810-52, receiving his first medal in his inaugural year for a portrait of composer Amedee Méreaux.
As well as being highly skilled on a technical level, Delacluze was also highly imaginative with his compositions, perhaps the best example of this is his self-portrait with Mr. and Mrs. Martin dated 1804 . Delacluze was also celebrated for his use of light, as can be seen in his sensitive portrait of three children of 1810.
The identity of the sitter in the present work remains unknown, although he is clearly an experienced officer judging by the scar on his left cheek and would no doubt have been painted as a token of affection for a loved one at home.
The present work is a rare example by French portrait miniature painter Delacluze, an artist patronised by the highest echelons of French society. A multi-faceted artist, Delacluze also worked in watercolour and oils, exhibiting at the Paris Salon between 1810-52, receiving his first medal in his inaugural year for a portrait of composer Amedee Méreaux.
As well as being highly skilled on a technical level, Delacluze was also highly imaginative with his compositions, perhaps the best example of this is his self-portrait with Mr. and Mrs. Martin dated 1804 . Delacluze was also celebrated for his use of light, as can be seen in his sensitive portrait of three children of 1810.
The identity of the sitter in the present work remains unknown, although he is clearly an experienced officer judging by the scar on his left cheek and would no doubt have been painted as a token of affection for a loved one at home.
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