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Marie Antoinette

Chapter 30: APPENDIX E UPON THE “LAST PORTRAIT OF THE QUEEN” BY KUCHARSKI
By Hilaire Belloc
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BiographiesHistory - Early Modern (c. 1450-1750)History - EuropeanHistory - Royalty

About This Book

The narrative traces the life of the French queen from her dynastic upbringing and marriage into the royal household through court life, scandals, and political crises. It chronicles episodes such as intrigues surrounding court favorites, the notorious jewel affair, popular uprisings, a failed royal escape, wartime strains and the collapse of the monarchy, followed by imprisonment and death. The author treats these events as a convergence of personal impulses, misjudgments, and larger impersonal forces, arguing for a sense of tragic destiny. The volume is organized chronologically and supplemented with illustrations, maps, and documentary appendices.

APPENDIX E
 
UPON THE “LAST PORTRAIT OF THE QUEEN” BY KUCHARSKI

THREE “last” portraits of Marie Antoinette, each very similar to the two others, though not replicas, are known to exist: each is ascribed to the painter Kucharski, who appears for a moment at the Queen’s trial, and who is known to have painted her at Court.

These portraits are, one in Arenburg Gallery at Brussels, another in the Carnavalet, and the third in the new Revolutionary Room on the third floor at Versailles. This last is the one which is reproduced here, because M. de Nolhac, by far the best authority, has assured me of its authenticity. On the other hand, it must be mentioned that the Belgian one was vouched for by Auguste d’Arenberg[59] who bought it in 1805, and who quotes the testimony of the painter[60] himself, who was then alive.

59.  See “Notes sur quelques Portraits de la Galerie d’Arenberg,” in the Annales de l’Académie Royale d’Archéologie de Belgique, 4th series, vol. x. 1897.

60.  On this painter there exists a monograph by Mycielski (Paris, 1894), and an article published in the December number, 1905, of the Revue d’ Art, Ancien et Moderne.

He appears to have affirmed that he saw the Queen in the Temple when he was on guard, took the sketch, noting the details of dress, &c., and completing the work at home.