Gabrielle d'Estrées

Gabrielle d'Estrées and One of Her Sisters

The candid gesture may be an allusion to Gabrielle's pregnancy and the birth in 1594 of César de Vendôme, the illegitimate son of Henry IV. Description Italian influence Although very much in the style of the second school of Fontainebleau, this work remains anonymous. It shows the influence of Italian Renaissance art in the sensual contours of the bodies of the two young women, but also contains references to Flemish art, such as the intimacy of the background scene. The trompe-l'oeil technique The artist has made skillful use of the trompe-l'oeil technique, using an imitative, realistic style for on the sheet in the bath and the two curtains framing the scene. The trompe-l'oeil effect is accentuated by the view of what is taking place in the background room. Richly colored, unsettling in its presentation of two women in their bath, and mysterious in its use of symbol - the ring being shown by Gabrielle d'Estrées, for example - the sensuality of the painting made it a popular success. Sensuous yet marvelously delicate, the contours of the two naked bodies are highlighted by the lighting of the two women from the left and the contrast with the shadowy background. An oddly affectionate gesture The models have been identified as Gabrielle d'Estrées (1571-99), the favorite of Henry IV (1553-1610), and one of her sisters: the Duchess de Villars or Madame de Balagny. The oddly affectionate way in which the sister is pinching Gabrielle d'Estrées' right breast has often been taken as symbolizing the latter's pregnancy with the illegitimate child of Henry IV. This interpretation would seem to be confirmed by the scene of the young woman sewing - perhaps preparing a layette for the coming child - in the background. The picture was acquired by the Louvre in 1937.