Who painted Head of a Girl?

Head of a Girl was painted by Louise Rosalie Hémery in 1777.

Where can I see Head of a Girl?

Head of a Girl is held by National Gallery of Art.

What movement is Head of a Girl?

Head of a Girl is associated with Romanticism.

Can I buy a print of Head of a Girl?

Museum-quality prints of Head of a Girl are available made-to-order from Artifact World Gallery.

Artwork

Head of a Girl

Louise Rosalie Hémery , 1777

Head of a Girl is a chalk print by the Romanticist artist Louise Rosalie Hémery. It dates from 1777 and is held in the collection of the National Gallery of Art.

Inscription: Inscribed:lower left in plate: J. B. Greuze del.; lower center: Gravée d'après J. B. Greuze par L. Rosalie Hemery, et se vend à Paris chez Chereau rue des Mathurins; lower right: No. 135; by later hand, lower right verso in graphite: 070112

About this work

Overview

Louise Rosalie Hémery’s 1777 print titled Head of a Girl presents a solitary portrait rendered in red chalk on laid paper. The work measures a modest size typical of studies intended for private contemplation, and it exemplifies the artist’s engagement with intimate, single‑figure subjects during the late eighteenth century.

Subject & Meaning

The composition focuses on a young girl whose head is turned slightly away from the viewer. Her hair is gathered loosely, allowing strands to frame her cheeks, while a calm, serious expression suggests a moment of quiet introspection. An arm rests on a rolled cloth, adding a subtle hint of domestic context without detracting from the facial study.

Technique & Style

Hémery employs loose, gestural chalk strokes that convey light and shadow through soft, smudged lines. The red pigment on the textured laid paper creates a warm tonal range, while the sketch‑like quality reflects a practice of rapid observation. This approach aligns with early Romantic tendencies toward expressive, emotive rendering rather than strict academic finish.

History & Provenance

Created in 1777, the print belongs to the period when Hémery was active in France, though specific details of its ownership trail are scarce. It has been catalogued among her surviving works and appears in collections that focus on eighteenth‑century French prints, illustrating the artist’s contribution to the era’s burgeoning print culture.