Mademoiselle de Fitz-James

The painting was commissioned in 1867 by Margaret, Duchesse de Fitz-James, nee Margaret Loewenhjelm, at the Chateau de la Lorie in Anjou. It subsequently passed through the Paris dealers H.J. Laroche and F. and J. Tempelaere before being handled by the Kraushaar Galleries in New York. In 1929 it was acquired by the American collector Chester Dale (1883-1962), who held it until his death; in 1963 it entered the National Gallery of Art in Washington, D.C., as part of his bequest, where it remains. The available records do not list specific public exhibitions or an accession number.

Henri Fantin-Latour’s 1867 oil on canvas, Mademoiselle de Fitz-James, is a portrait of Françoise de Fitzjames. This work exemplifies the artist's engagement with realism, depicting its subject with a focus on naturalistic detail. The painting captures a quiet dignity, reflecting the sitter's connection to Parisian cultural life and Fantin-Latour's characteristic approach to individual portrayal within the realist tradition.

The painting features Françoise de Fitzjames, a figure known within the cultural circles of 19th-century Paris. Fantin-Latour renders her seated, adorned in elegant attire, conveying a sense of composure and gentleness. The artist's meticulous attention to her dress and surroundings contributes to an overall impression of quietude, emphasizing her presence rather than dramatic narrative or idealized form.

Henri Fantin-Latour, a French painter and lithographer, was recognized for his still lifes and group portraits of contemporary artists and writers. Mademoiselle de Fitz-James aligns with his broader practice of capturing individuals with a direct, unembellished gaze. The painting reflects the prevailing realist current of the mid-19th century, which sought to represent subjects without romantic embellishment, focusing instead on objective observation and quiet introspection.