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Hyacinthe-Gabrielle Wellesley, Countess of Mornington (née Roland or Rolland; c. 1766 – 5 November 1816) was a French actress who became the mistress, and later the wife, of Richard Wellesley, 1st Marquess Wellesley. As an actress, she was known as Gabrielle Fagan.
Hyacinthe Gabrielle Roland. Elisabeth Louise Vigée Le Brun French. 1791. Not on view. Mademoiselle Roland (1760?–1816), an actress of stunning beauty, bewitched the rising politician Richard Wellesley, Earl of Mornington, and with him had five children before they married in 1794. Their descendants include Queen Elizabeth II.
Hyacinthe-Gabrielle Roland, comtesse de Mornington (1766-1816) est une actrice française. Elle est l'arrière-arrière-arrière-grand-mère de la reine Élisabeth II du Royaume-Uni . Biographie. Née à Paris en 1766, Hyacinthe-Gabrielle est la fille unique de Pierre Roland et de Hyacinthe-Gabrielle Daris 1, 2 .
Hyacinthe-Gabrielle Roland (1766-1816) had been an actress at the Comédie Française before the revolution. In Rome, she became the lover–and later the wife–of a British aristocrat, the First Marquess Wellesley of Norragh. Windswept and free of extraneous ornament, the portrait exemplifies the engagingly informal style that Vigée adopted in Italy.
We offer the Louise Vigée Le Brun work of art 'Portrait of Hyacinthe Gabrielle Roland, Countess of Mornington'. Louise Vigée Le Brun of the French school of artists created this fine example of Portrait art from the Neoclassicism - 1780-1820 period. Contact the Matthiesen Gallery, London (+44 (0)207-930 2437) for further details.
Hyacinthe Gabrielle Roland. Type. Painting. Year. 1791. View all. Griff Stecyk. Sr. Contributor. Hyacinthe Gabrielle Roland was the bastard child of a French actress and an Irish emigre, who carried on the family tradition, becoming a French actress who had several bastards by an Anglo-Irish politician.
24 de abr. de 2020 · Vigée Le Brun’s Memoirs is a useful account for understanding how her sympathetic attitudes toward mistresses such as Roland and Hart influenced her artistic approach to Hyacinthe Gabrielle Roland. In many ways, the three women’s biographies testify to a shared experience of exile in Italy.
