Querelles d'experts à propos de ce portrait du peintre Jean Baptiste Alizard
Alizard Jean-Baptiste, Hermitage, S. Petersburg Before 1914 the painting was erroneously thought to depict Princess Elisabeth of Tuscany and was presented in the Gatchina Palace as a companion to the portrait of Vittorio Amedeo III by Domenico Corvi. A. Trubnikov suggested the present indentification, as well as the indentification as the dauphin of the person depicted in its pendant hung in the English Palace at Peterhof toghter with Vigée Le Brun's replica of her portrait of Marie Antoinette. A. Vuaflart regards this portrait as a conflation of works by Louis-Michel Vanloo and Jacques Ducret; A. Trubnikov traces in it the influence of Joseph Siffred Duplessis and Francois Hubert Drouais; W. Beliawskaja notes its similariry to the portrait by Jacques Delorge shown in the Salon of 1774. A protest of the painters, dated 11 April 1773, against the permission given to Alizard to copy the portraits of the king and members of the royal family confirms that Alizard's works were really pastiches and copies. The portrait of Marie Antoinette by Alizard was received by the Hermitage Museum in 1920 from the Gatchina Palace.
A creuser parce, que, outre le manteau fleurdelysé, rien ne rattache a priori ce portrait à notre reine...
rien que la mort peut me faire cesser de vous aimer