Artwork
Ph.Cl.A. de Thubieres, Comte de Caylus
Ph.Cl.A. de Thubieres, Comte de Caylus is an ink print by the Romanticist artist Charles-Nicolas Cochin II. It dates from 1752 and is held in the collection of the National Gallery of Art. Created in 1752, this print presents a formal portrait of Philippe Charles Alexandre de Thubières, Comte de Caylus.
- Inscription
- Inscribed:lower center in plate: PH.CL.A.DE THUBIERES. / COMTE DE CAYLUS. / Dessine par Cochin le fils 1752.
About this work
Overview
Created in 1752, this print presents a formal portrait of Philippe Charles Alexandre de Thubières, Comte de Caylus. Executed by the French engraver Charles‑Nicolas Cochin II, the image combines engraving and etching techniques on laid paper, resulting in a monochrome depiction of the nobleman’s face within a circular frame.
Subject & Meaning
The sitter, a noted aristocrat and patron of the arts, is rendered with a solemn expression and tightly curled hair, emphasizing his status and dignified bearing. The circular portrait is surrounded by an ornamental border crowned with a stylized motif, underscoring his rank and the conventions of 18th‑century portraiture.
Technique & Style
Cochin employed a dual process: an initial etching to lay out fine details, followed by engraving to deepen lines and enhance contrast. The use of laid paper, with its visible ribbed texture, contributes to the work’s tactile quality, while the crisp black‑and‑white rendering reflects the neoclassical clarity favored in mid‑century French prints.
History & Provenance
The print was produced in Paris during a period when Cochin was a leading figure in the French Academy of Painting and Sculpture. It was likely issued as part of a series of portraits of prominent cultural figures, serving both as a commemorative image and as a collectible item for connoisseurs of the era.
Context
In the mid‑1700s, portrait prints functioned as a means of disseminating the likenesses of elite individuals beyond the confines of painted commissions. Cochin’s work aligns with the broader Enlightenment interest in documenting notable personalities, bridging the gap between fine art and emerging print culture.
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