Delacroix, Eugene – Sitting nude, also called Mlle. Rose (a professional model in the studio of Pierre-Narcisse Guerin). 1820 Canvas, 81 x 65 cm RF 1942-14 Part 1 Louvre

The painting depicts a young woman, identified as Mlle. Rose, a professional model, in a reclining yet attentive pose. She is seated on a wooden block, draped with a rich red cloth, and her body is presented in a state of undress, highlighting her form. Her gaze is directed towards the viewer, with a subtle, almost introspective expression. The background is dark and textured, drawing attention to the illuminated skin of the model and emphasizing the intimacy of the pose.

Subtexts in this painting may include:

• The Art of Observation: As a study of a nude model, the painting engages with the tradition of life drawing and the artists act of closely observing and rendering the human form. The pose, while seemingly relaxed, is balanced and deliberate, suggesting the models professional awareness of her role.
• Femininity and Vulnerability: The nudity inherently brings themes of femininity, sensuality, and vulnerability into play. However, Mlle. Roses direct gaze and composed posture somewhat counteract any pure sense of passive vulnerability, suggesting a degree of self-possession.
• The Models Agency: By identifying the sitter as a professional model, the painting reflects on the role of individuals who served as muses for artists. The direct gaze can be interpreted as the model looking back at the observer, asserting a presence and potentially questioning the power dynamics of the artist-model relationship.
• Realism vs. Idealization: Delacroix, even early in his career, was known for his expressive brushwork. This painting, while a study, likely carries some of his characteristic energy, blending a realistic depiction with an emotional intensity rather than a purely idealized Neoclassical rendering.
• Intimacy and Voyeurism: The intimate setting and the act of viewing a nude figure naturally invite considerations of intimacy and the potential for voyeurism, both for the implied artist and for the viewer of the painting.