There are no effective remedies or legal protection against this. After a long career almost exclusively in the service of Louis XIII and Cardinal Richelieu, Philippe de Champaigne established himself from the mid-1640s as a great portraitist of the aristocracy and Parisian clergy, receiving commissions from parishes and religious orders, including the community of the two convents of Port-Royal-des-Champs and Paris.Īt present, there is no adequate level of data protection in the USA, and it cannot be excluded that state security authorities may issue corresponding orders to the third-party providers (Google and Meta Platforms, Inc.) to gain access to the aforementioned data for control and monitoring purposes. The painter was particularly close to the community of Port Royal, having sent his two daughters to the Parisian convent. For example, his portrait of 1648, which is also conserved at the Musée de Versailles and of which there is a copy in Chantilly.Ĭhampaigne may have been given the commission for the present painting by the sisters of the Parisian convent, probably due to the fact that Arnauld moved to the abbey of Port-Royal-des-Champs that same year. The nun was portrayed on several occasions by Philippe de Champaigne, and the success of these portraits in the Port Royal area is attested to by the replicas and copies. There is a further similar variant in the Musée de Versailles.

The inscription is also identical, but in the Louvre picture it is located on the right-hand wall.

The three-quarter profile of the nun and her clothes are the same as those in the present painting. The present painting is related to the portrait in the Louvre that portrays La Mère Angélique, sitting in a bare room, beyond a view of Port Royal. The inscription at the top left of the painted oval frame indicates the year in which the portrait was executed (1654, when she was 62 years of age), and that on the right givesthe date of her death (6th August 1661). She wears a black veil and white scapular, on top of which lies the red cross of the Blessed Sacrament and a rosary is visible near her belt. She is depicted in three-quarter profile within an oval against a dark background. The present painting is a portrait of La Mère Angélique, born Jacqueline-Marie-Angélique Arnauld, who was abbess of Port-Royal-des-Champs from 1648 until her death in 1661. We are grateful to Lorenzo Pericolo for suggesting the attribution on the basis of high resolution digital photgraphs. Portrait of Jacqueline-Marie Arnauld, called Angelique Arnauld, Abesse de Port-Royal,

Champaigne painting zgallery