Double portrait of count Preben Bille-Brahe and his second wife, Johanne Caroline, nee Falbe

Double portrait of count Preben Bille-Brahe and his second wife, Johanne Caroline, nee Falbe

1817 - Painting - 50cm x 61cm

Welcome, everyone! Before you stands "Double portrait of Count Preben Bille-Brahe and his second wife, Johanne Caroline, née Falbe," a captivating painting created in 1817 by Christoffer Wilhelm Eckersberg. This remarkable work is part of the esteemed collection of the Ny Carlsberg Glyptotek. nn Measuring 0.5 meters wide and 0.61 meters high, the painting presents a lifelike portrayal of a seated couple. Count Preben Bille-Brahe, depicted on the left, is a man of mature years, his fair complexion subtly hinting at his age. He's dressed in a dark coat over a vibrant yellow waistcoat, a crisp white cravat adding a touch of elegance. The artist masterfully captures the subtle shadows under his eyes and around his mouth, suggesting a quiet weariness. A book rests gently in his left hand. nn Beside him sits his wife, Johanne Caroline, née Falbe. Her youthful appearance contrasts with her husband's, her dark hair styled in fashionable curls and adorned with a dark headband accented with what appears to be gold trim. She wears a delicate white off-the-shoulder gown, the lace at the neckline and sleeves adding a touch of refinement. Her serene expression and the way she gently holds a length of white ribbon or thread create a sense of domestic tranquility. The soft rosy hue of her cheeks and the subtle shadow beneath her chin add to the realism of the portrait. nn The couple is seated upon a richly colored red shawl or throw, its patterned border visible at the bottom. The muted dark blue-gray background provides a striking contrast to the brighter colors of their clothing. The soft, even lighting enhances the textures of the fabrics and the details of their faces. The overall color palette is subdued, with the yellow waistcoat and the red shawl providing the most vibrant accents. The painting's power lies not in overt symbolism, but in the quiet intimacy of the scene, a subtle representation of marriage and domestic life.

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