File:Workshop of Voet - Presumed portrait of Hortense Mancini dressed in armor.png

"Rare painting from the 17th century, representing the presumed portrait of Hortense Mancini dressed in armor, work from the workshop of Jacob Ferdinand Voet. Of the five Mancini sisters, the "beautiful Hortense", Cardinal Mazarin's favorite niece, considered by many of her contemporaries to be the prettiest woman in Europe, undoubtedly had a journey towards ever more emancipation and freedom. His beauty and intelligence earned him many suitors, including King Charles II of England, the future King Peter II of Portugal and the Duke of Savoy. But Mazarin gave his preference to someone less prestigious, Armand de La Porte, Marquis of La Meilleraye. In the end, never union was more badly matched: Hortense, young, lively and light, loved the world, unlike the Duke of Meilleraye who stingy and jealous, exaggerated in devotion, fled society. Following this unhappy marriage, Hortense resolved to free herself from what she called "odious slavery" and she fled on horseback to Italy, where she joined her sister Marie, wife of Prince Colonna . She found asylum with the Duke of Savoy for three years before returning to the road. We saw her go through Switzerland, Germany and Holland, always followed by an escort of lovers. She caused a sensation in London when she arrived in Whitehall. King Charles II was very in love with her but our fiery Mancini made the mistake of falling into the arms of a prince of Monaco. It was the end of his political role. The Stuart did not forgive him for his betrayal, but he refused to exile him. Hortense then settled in Saint-James where she animated a small French court, reigning over a group of great lords, foreigners and admirers. Our sublime portrait of Hortence Mancini and raises her to the rank of goddess thanks to the wearing of a breastplate and a spear which take up the mythological attributes of the goddess Minerva. This allegory often acclaimed by the fairer sex of the time, embodied above all a demand for equality. In addition, the tables being hierarchical, the allegorical or historiated portraits remained the most noble, because for the Academy of Painting, a portrait was "worthy of esteem only if it testified to the social situation of the model through the medium allegorical and mythological elements. The pictorial style of our painting immediately evokes a comparison with the works of Jacob Ferdinand Voet. His production presents qualitative aspects which are captured by observing the expressive force of looks, psychological introspection and this nonchalance in which the Nordic authorities skillfully blend with Italian Baroque elegance. Eyes bigger than mouth, our Mazarinette evokes the exercise of style that Voet particularly likes. This pictorial specificity is reminiscent of the attraction that Louis XIV could have regarding these ladies' cherry mouths. Hortence is particularly true here, more Roman than French with this famous melancholy at the level of the look. Her hairstyle is reminiscent of the musard style of the time, representing a curly bun letting a large lock of hair wobble over each ear. The ornaments are remarkably transcribed. We find the famous row of thirty-seven pearls offered by the King of France to his sister Marie Mancini (jewel which will appear later on most of Voet's works). The treatment of the light which comes to hang on the armor decorated with a rich decoration in repoussé and gilded steel, is striking. Our painting dates from the 17th century, around 1670. Work from the workshop of Jacob Ferdinand Voet. It is presented in a posterior frame, decorated with scrolls. Oil on canvas (74.5 cm x 66 cm) and its frame (84 cm x 76 cm). Literature Jacob-Ferdinand Voet is one of the many Flemish portrait artists who had a brilliant career in Italy. Staying in Rome between 1663 and 1679, he produced half-body portraits of cardinals, "handsome" and Roman lords and ladies. He participated in the execution of three galleries of "Roman beauties", including one commissioned in 1672 by Cardinal Flavio Chigi for his family palace in Rome. About Galerie Valtesse"