The J. Paul Getty Museum

Portrait of the Sculptor Roland

Object Details


Portrait of the Sculptor Roland


François-André Vincent (French, 1746 - 1816)




France (Place Created)




Oil on canvas

Object Number:



74.5 × 61.3 cm (29 5/16 × 24 1/8 in.)

See more

See less

Object Description

Painted in 1797, this intimate and lively half-length portrait depicts the 51-year-old sculptor Philippe-Laurent Roland (1746-1816), an exact contemporary and longtime friend of Vincent's who was also his colleague in the lnstitut, which had been established in 1795 to replace the defunct Royal Academy. Roland is shown from the side, sitting with his body angled slightly toward the viewer and his proper right arm resting informally on the back of his chair. His hand, dominating the center foreground, lightly grips an ebauchoir, a sculptural tool used for working plaster. The artist's costume, consisting of a well-worn jacket, waistcoat, and loose shirt with pleated frill, is decidedly simple, dignified and workmanlike - a world apart from the extreme fashions of the strutting young peacocks who were being labeled Jncroyab/es in the late 1790s. His gray, powdered hair unpretentiously disheveled, Roland engages us directly, his self­ assured expression a marvel of psychological nuance. On one hand his level gaze is cool and restrained, perhaps even faintly quizzical in his calm appraisal of the viewer, brow slightly furrowed. Yet his demeanor is also open and warm, his parted lips heightening our sense of an intelligent character caught in the moment, his guard dropping in a friendly encounter between equals. Vincent's restricted, sober palette, typical of revolutionary-period male portraits, is likewise subtly nuanced, ranging from the cool, light grays of the background, the warm browns of Roland's jacket and the creams and whites of his waistcoat and shirt, to the ruddy flush of his cheeks and the red of the honorific ribbon pinned to the inside of his jacket, which offer a counterpoint to the dull green of the chair back. Throughout Vincent's masterful paint handling is evident, from the lightly brushed background that imparts a wonderful sense of space, to the firm, sculptural modeling of Roland's head and hand, whose three-dimensionality is emphasized by the painter's sophisticated modulation of light and shade. The resulting sense of physical acy, of vital presence, is extraordinary, and is only strengthened by the tight framing of the composition, the proximity of the sitter to the picture plane, and the suppression of superfluous details.

- 2015

Private Collection (Paris, France)

2015 - 2016

The Matthiesen Gallery (London, England), sold to the J. Paul Getty Museum, 2016.


Exposition de peintures, sculptures, architecture, gravures et dessins. Journal d’indications 1798. MS transcription from the Journal d’indications. Bibliothèque nationale de France, département Estampes et photographie, RESERVE 8-YA3-27 (20, 541) [Collection Deloynes, tome 20, pièce 541], pp. 209-10, (accessed August 24, 2020).

[Doix, François Joseph Aloyse]. Itinéraire critique du Salon de l'an VI. Dédié aux artistes, par un Amateur (Paris, 1798), p. 21.

Explication des ouvrages de peinture et dessins [,] sculpture, architecture et gravure, exposés au Muséum central des Arts, d'après l'Arrêté du Ministre de l'Intérieur, le 1er Thermidor, an VI de la République française (Paris, 1798), p. 76, no. 426.

Chaussard, Pierre-Jean-Baptiste. In La Décade Philosophique, Littéraire et Politique, no. 36 (30 Fructidor an VI [Sept. 16, 1798]), p. 536.

Renouvier, Jules. Histoire de l'art pendant la Révolution, considéré principalement dans les estampes (Paris: Vve Jules Renouard, 1863), p. 75.

Du Seigneur, Jehan [Jean Bernard Duseigneur]. Appendix to Chaussard, "Notice historique sur Vincent, peintre d'histoire." Revue universelle des arts 17, (1863), p. 53.

Bellier de la Chavignerie, Émile, and Louis Auvray. Dictionnaire général des artistes de l'École française depuis l'origine des arts du dessin jusqu'à nos jours: architectes, peintres, sculpteurs, graveurs et lithographes. 3 vols. (Paris: Librairie Renouard, 1882-1885), vol. 2 (1885), p. 691.

Marmottan, Paul. L'École française de peinture (1789-1830) (Paris: Librairie Renouard, 1886), p. 445.

Marcel, Henry. “Philippe-Laurent Roland et la statuaire de son temps.” La Revue de l’art ancien et moderne 12 (1902), p. 137, ill.

Heim, Jean-François, Claire Béraud, and Philippe Heim. Les salons de peinture de la Révolution française, 1789-1799 (Paris: C. A. C. Sarl. Édition, 1989), p. 387.

Draper, James David. “Pajou and Roland.” In Augustin Pajou et ses contemporains: actes du colloque organisé au musée du Louvre par le Service culturel les 7 et 8 novembre 1997. Guilhem Scherf, ed. (Paris: La Documentation française; Musée du Louvre, 1999), p. 549n23.

Cuzin, Jean-Pierre, with Isabelle Mayer-Michalon. François-André Vincent, 1746-1816: Entre Fragonard et David (Paris: Arthena, 2013), pp. 220-21, 479, no. 544 P, ill. p. 221.

Caracciolo, Maria Teresa. Ritratti Fra Amici: François-Xavier Fabre e Barthélémy Corneille tra Roma e Firenze (Florence: Massimo Tettamanti, 2017), pp. 19-20, ill.

Potts, Timothy. "Recent acquisitions (2013–16) at The J. Paul Getty Museum, Los Angeles." The Burlington Magazine 159, no. 1368, Supplement (March 2017), pp. 257, 265, fig. 16.

Allan, Scott, Davide Gasparotto, Peter Björn Kerber, and Anne T. Woollett. Masterpieces of Painting: J. Paul Getty Museum (Los Angeles: J. Paul Getty Museum, 2018), pp. viii, 15, 106, ill.