Artwork
Caroline Maria Therese of Parma (1770–1804)
Caroline Maria Therese of Parma (1770–1804) is an ivory painting. It dates from 1796 and is held in the collection of the Metropolitan Museum of Art.
About this work
Subject & Meaning
The ivory portrait, dated to circa 1790, presents the sitter’s likeness in a formal pose typical of late‑eighteenth‑century portraiture.
Caroline Maria Therese of Parma (1770–1804) is portrayed as a woman adorned with a bracelet and accompanied by a boy, a girl, and a man, as indicated by the work’s depiction of a female figure, bracelet, boy, girl, and man. The ivory portrait, dated to circa 1790, presents the sitter’s likeness in a formal pose typical of late‑eighteenth‑century portraiture. By representing her with luxury accessories and additional figures, the image underscores her identity as a member of the Parma nobility and serves as a commemorative likeness that conveys both her personal appearance and her social standing.
Technique & Style
This 1790 portrait is executed on ivory, a support favored in the late eighteenth century for its smooth, luminous surface that allowed for fine, miniature-scale detail. The work is classified as a painting in the portrait genre, and its modest dimensions, 29 cm in height by 19 cm in width, indicate it was conceived as an intimate cabinet picture rather than a large-scale formal commission. The composition is a multi-figure portrait depicting a woman, a man, a boy, a girl, and a bracelet, suggesting a family grouping rendered with the delicate handling characteristic of ivory painting.
The piece is held in the collection of the Metropolitan Museum of Art (accession 26.168.68), attributed to an anonymous German painter. No specific information regarding the pigments, binders, or current conservation condition is documented in the available sources.
History & Provenance
Caroline Maria Therese of Parma (1770–1804) is depicted in a small ivory panel portrait dated 1790. The work, measuring 29 × 19 cm, was executed by an anonymous German painter on ivory and belongs to the portrait genre. It entered the collection of the Metropolitan Museum of Art, where it is catalogued under accession number 26.168.68.
The painting’s provenance is limited to its creation and subsequent acquisition by the museum; no earlier owners are recorded. The dating is confirmed by the inception field of the work, which records 1790‑00‑00, and by the artist’s entry in the museum’s catalogue.
Overview
This small, oval portrait depicts Caroline Maria Therese of Parma (1770–1804). Rendered in ivory, the artwork focuses on the sitter's head and shoulders, presenting a young woman with a steady gaze and light features. Her simple attire and the unadorned background direct all attention to her countenance, reflecting a common approach in intimate portraiture of the period.
Context
The choice of ivory as a medium underscores the artwork's luxurious context. During this era, ivory was a costly and esteemed material, making portraits crafted from it accessible primarily to affluent patrons. Owning such a piece signified wealth and social standing, positioning these miniature portraits as markers of elite status and personal prestige.
Artist & collection
Portrait of a Woman
Portrait of a Child
A Lady
Portræt af Kammerherreinde Johanne de Svanenskjold f. Neergaard
Portræt af Kammerherreinde Johanne de Svanenskjold f. Neergaard
Portrait of a Woman
Kaiserin Maria Amalia, Gemahlin Kaiser Karls VII.
Portrait of a Young Woman
Bildnis der Prinzessin Francisca Elisabeth von Parma
Portrait of a Woman
Portrait of a Man- Caroline of Ansbach (1683–1737), Consort of George II of Great Britain and Ireland
