About This Artwork

Jean-Baptiste-François Desoria
French, 1758–1832

Portrait of Constance Pipelet, 1797

Oil on canvas
130 x 99.1 cm (51 1/4 x 39 in.)
Inscribed at lower left, on the edge of the wall: DESORIA / 1797 an V

Simeon B. Williams Fund, 1939.533

Exhibition, Publication and Ownership Histories

Exhibition History

Paris, Salon of 1798 (Year VI of the Republic), Musée central des Arts, no. 118, as Portrait de la citoyenne Pipelet.

San Francisco, California Palace of the Legion of Honor, Vanity Fair: An Exhibition of Styles of Women's Headdress and Adornment through the Ages, 1942, no. 33, as Portrait of Mme Elisabeth Dunoyer.

Illinois, Decatur Art Center, Masterpieces of the Old and New World, 1948, no. 8, as Mme Elizabeth Dunoyer.

Detroit, Institute of Arts, French Painting from David to Courbet, 1950, no. 6, as Portrait of Mme Elisabeth Dunoyer.

Paris, Galeries Nationales du Grand Palais, De David à Delacroix: La Peinture française de 1774 à 1830, 1974-75, no. 47, traveled to Detroit and New York, as Madame Elisabeth Dunoyer.

Chicago, Art Institute, Selected Works from Eighteenth-Century French Art in the Collections of The Art Insitute of Chicago, 1976, no. 20, as Madame Elisabeth Dunoyer.

New York, The Metropolitan Museum of Art, The Age of Napoleon: Costume from Revolution to Empire, 1789-1815, 1989-90 (no cat.).

Northampton, Mass., Smith College Museum of Art, "The French Portrait: Revolution to Restoration," 2005, cat. 12, as Portrait of Constance Pipelet.

Publication History

The Art Institute of Chicago, A Brief Illustrated Guide to the Collections (Chicago, 1941), p. 32.

Frederick A. Sweet, "Judith by Giovanni Martinelli," Art Institute of Chicago Bulletin 36, 1 (1942), p. 6.

The Art Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago, 1961) p. 126.

Jean Cailleux, "La Grande Peinture, de 1774 à 1830: Le Portrait," Art et curiosité 55 (January-February 1975), p. 23.

Jean François Garmier, "Mâcon, Musée des Ursulines: Dernières Acquisitions," La Revue du Louvre 29, 5/6 (1979), p.432.

Aileen Ribeiro, Fashion in the French Revolution, (London, 1988), fig. 83.

Susan Wise in Susan Wise and Malcolm Warner, French and British Paintings from 1600 to 1800 in The Art Institute of Chicago, (Princeton, N.J.. 1996), pp. 49-51, ill.

Renaud Temperini, "Le néo-classicisme" in La Peinture française, ed. Pierre Rosenberg (Paris, 2001), pp. 294, ill., 295.

Margaret A. Oppenheimer, The French Portrait: Revolution to Restoration, exh. cat. (Smith College Museum of Art, 2005), pp. 11, 62-64, ill., cat. 12.

Ownership History

Jacques Doucet (died 1929), Paris [according to a letter of September 25, 1939, from Paul M. Byk, Seligmann, Rey, and Co, to Daniel Catton Rich in curatorial files]. Arnold Seligmann, Rey, and Co., New York, by 1939; sold to the Art Institute, 1939.




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