Artwork
Guillaume Thomas Raynal
Guillaume Thomas Raynal is an ink print by the Romanticist artist Nicolas Delaunay. It dates from 1780 and is held in the collection of the National Gallery of Art.
- Inscription
- Inscribed:below image, across bottom in plate: Dessine par C.N. Cochin,Chevalier de l'Ordre du Roi, Secretaire Perpetuel de l'Academie Royale de Peinture et Sculpture. 1780. Gr ave par N. De Launay, de la meme Academie, Membre de celle des beaux-Arts de Dannemarck.; aBp//: Au D efenseur de l'Humanite, de la Verite, de la Liberte, ELIZA DRAPER.; aCp//: GUILLAUME THOMAS RAYNAL.
About this work
Overview
This 1780 copper engraving, executed by Nicolas Delaunay, presents a profile portrait of the French writer Guillaume Thomas Raynal. Rendered in black ink on laid paper, the image combines a finely rendered head with a diminutive narrative scene in the background, creating a formal commemorative print typical of the late‑eighteenth‑century French portrait tradition.
Subject & Meaning
The central figure is Raynal himself, depicted with a solemn expression, high forehead and pronounced facial lines that convey intellectual gravitas. Behind him, a small tableau shows a woman holding a scroll and a distant building crowned with a cross, elements that may allude to his literary output or moral concerns, though the precise symbolism remains ambiguous.
Technique & Style
Delaunay employed fine cross‑hatching and stippling to model the facial features, achieving a subtle gradation of tone despite the monochrome medium. The background scene is rendered in a more schematic manner, using lighter line work to suggest depth and distance, a common practice in engravings that sought to balance portraiture with narrative detail.
History & Provenance
Created in 1780, the print was likely produced for distribution among Raynal’s admirers or as part of a series of portraits of contemporary intellectuals.
Created in 1780, the print was likely produced for distribution among Raynal’s admirers or as part of a series of portraits of contemporary intellectuals. The work bears the artist’s signature and the subject’s name beneath the image, indicating its purpose as a formal tribute rather than a private study. Its later ownership records are limited, but it appears in several nineteenth‑century catalogues of French prints.
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