PIERRE II MIGNARD, circle

PORTRAIT OF A LADY AS MARY MAGDALEN

PIERRE II MIGNARD called “le chevalier Mignard”, circle
Avignon 1640 – 1725 Avignon

Oil on canvas
122 x 158 cm / 48 x 62.2 inches, with frame 146 x 182 cm / 57.5 x 71.7 inches

PROVENANCE
Italia, Ascoli, collection del Duca

The glorious era of Louis XIV gifted the world with a brilliant array of architects, sculptors, and master craftsmen. Equally remarkable was the period's influence on painting, particularly the portrait genre, epitomized by the great Pierre Mignard.
Pierre Mignard revolutionized portraiture, creating a style that became a cornerstone of French artistic tradition. However, his universal appeal has led to a significant challenge in the field of art attribution. For many years, almost any portrait from the second half of the 17th century was attributed to Mignard or his school. Recent studies have started to shine a light on the "minor masters" of French portraiture, yet much remains to be discovered in this artistic landscape.
The "Portrait of a Lady as Mary Magdalene" is a prime example of this mystery. I discovered this captivating portrait at an Italian auction, where it was listed as a work of the school of Peter Lely. While the composition shared similarities with Lely's portraits, certain details stood out as atypical for Lely. The theatrical backdrop and clear planes of the landscape pointed to a master of the French school, influenced by Nicolas Poussin. The treatment of draperies and the elongated proportions of the figure suggested a strong connection to French classicism and the circle of Philippe de Champaigne.
Further research led me to the works of Pierre Mignard's nephew, Pierre Mignard (1640-1725), known as le chevalier Mignard. A large composition of Mary Magdalene in the Chapelle des Pénitents noirs in Avignon revealed striking similarities in composition, landscape, and figure proportions. This stylistic analysis allows us to attribute the painting to an artist from the entourage of Pierre Mignard, le chevalier Mignard, active in the 1660s-70s in Paris.
The identity of the lady depicted in this allegorical portrait is another fascinating mystery. This iconographic type, portraying a noble lady as Mary Magdalene, invites us to consider royal favorites. While portraits of Madame de Montespan and Isabelle de Ludres as Mary Magdalene are well-known, this portrait bears a closer resemblance to Louise de La Vallière, making it an intriguing subject for further research.


Wladyslaw MAXIMOWICZ
Bratislava, 2023