LEFÈVRE, Robert

Lef�vre probably painted Napoleon’s favourite sister Marie-Pauline (1780-1825) more frequently than any other artist. This painting shows the princess, who had a great zest for life, as a mythological figure. The subject gave the artist the opportunity to display his talents both as a portrait painter and as master of the mythological subject. But that also shows that the Baroque tradition of allegory was not entirely broken. The landscape in the painting suggest Arcadia, but the Tempietto at Tivoli also documents the Princess’ new domain. The figures look as if they are floating, the fluttering cloths form sharp-edged bunches, and Daphne’s light feet are like those of a ballet dancer. It is a feature frequently to be found in Lef�vre’s work.

This charming portrait Robert Lefevre, then one of the leading portraitists of the day, depicts as an 8-year old young boy year Anatole Demidoff, who would become one of the most significant, influential and eclectic collectors of the 19th century. His collection included some of the most important paintings of the 19th century as well as great Old Masters, important arms and armour, French furniture of the 18th century, and objects of vertue.

Karl Theodor Anton Maria von Dalberg (1744-1817) was Archbishop-Elector of Mainz, Arch-Chancellor of the Holy Roman Empire, Prince of Regensburg, primate of the Confederation of the Rhine and Grand-Duke of Frankfurt.

Lef�vre probably painted Napoleon’s favourite sister Marie-Pauline (1780-1825) more frequently than any other artist, although we are more familiar with her in the work of the Parisian painter Bosio and in Canova’s generous rendering of her as Venus Victrix. After two earlier marriages Pauline married Prince Camillo Borghese in 1803, and Lef�vre’s representative portraits include one painted in 1808, showing her as Princess Pauline Borghese, in her robe of state.