Who painted Pierre de Rohan, seigneur de Gye?

Pierre de Rohan, seigneur de Gye was painted by Raymond Monvoisin in 1835.

Where can I see Pierre de Rohan, seigneur de Gye?

Pierre de Rohan, seigneur de Gye is held by Palace of Versailles.

What movement is Pierre de Rohan, seigneur de Gye?

Pierre de Rohan, seigneur de Gye is associated with French Romanticism.

Can I buy a print of Pierre de Rohan, seigneur de Gye?

Museum-quality prints of Pierre de Rohan, seigneur de Gye are available made-to-order from Artifact World Gallery.

Artwork

Pierre de Rohan, seigneur de Gye

Raymond Monvoisin , 1835

Pierre de Rohan, seigneur de Gye is an oil painting by the French Romanticist artist Raymond Monvoisin. It dates from 1835 and is held in the collection of the Palace of Versailles.

About this work

Subject & Meaning

Rendered as an equestrian portrait, it symbolizes the subject's role as a marshal and his place within French aristocratic tradition.

The painting portrays Pierre I. de Rohan, seigneur de Gye, depicted in body armor on horseback, embodying the ideals of martial valor and noble lineage. Rendered as an equestrian portrait, it symbolizes the subject's role as a marshal and his place within French aristocratic tradition. Executed in oil on canvas, the work reflects 19th-century efforts to commemorate historic figures through heroic imagery, commissioned by Louis-Philippe for the Musée historique de Versailles.

Technique & Style

The work is an oil painting executed on canvas, measuring 279 cm in height by 206 cm in width. It portrays Pierre I de Rohan in body armor on horseback, reflecting equestrian and marshal themes. Executed in 1835, the piece was commissioned by Louis‑Philippe for the Musée historique de Versailles and is now housed in the Musée national des châteaux de Versailles et de Trianon.

The composition follows the academic portrait conventions of early‑19th‑century French art, combining formal pose with a restrained palette to emphasize the sitter’s martial status.

The painting’s materiality, oil on canvas, contributes to a richly textured surface that captures both the luminous rendering of armor and the atmospheric background, while the handling of light underscores the formal, heroic stylization typical of the period’s historical portraiture.

History & Provenance

The painting depicting Pierre I. de Rohan, seigneur de Gye, was commissioned by Louis-Philippe in 1834 for the Musée historique de Versailles and completed in 1835. It is an oil on canvas portrait created by Raymond Monvoisin after an original held at the Château de Beauregard. The work entered the collection of the Museum of the History of France at the Palace of Versailles, where it remains on display. Its dimensions are 279 cm in height and 206 cm in width.

The painting is documented in the Joconde database (notice number MV 965, INV 6790, LP 1495) and is part of the collections of the Musée national des châteaux de Versailles et de Trianon.

The painting is held at the Musée national des châteaux de Versailles et de Trianon, within the Museum of the History of France at the Palace of Versailles. It is registered under inventory numbers MV 965, INV 6790, and LP 1495. The work entered the collection as a copy commissioned in 1834 by Louis-Philippe for the historical museum at Versailles, executed after an original preserved at the Château de Beauregard.

Legacy

The painting's legacy is defined by its role in the historical reconstruction of the Palace of Versailles under Louis-Philippe. Created in 1835 by Raymond Monvoisin, the work was a direct commission intended to populate the Museum of the History of France with portraits of key French figures. It serves as a copy after an original portrait formerly held at the Château de Beauregard.

This specific reproduction remains part of the national collection at Versailles, where it continues to depict Pierre de Rohan, seigneur de Gye, in his capacity as a marshal.

Overview

Raymond Monvoisin’s 1835 oil portrait presents Pierre I de Rohan, seigneur de Gye, mounted on a dapple‑gray horse. The composition captures the nobleman in full armor, his white cape fluttering against a stormy sky, while a black hat topped with a white plume frames his profile.

Context

Created during the July Monarchy, the painting reflects a period of renewed fascination with the nation’s aristocratic past. Monvoisin, a French expatriate who spent much of his career in South America, returned to France and produced works that combined academic training with a keen eye for detail, as evident in this portrait.