ABSTRACT
This article analyses Louis-Auguste Moreaux’s painting titled The Portrait of the actress Lagrange (National Museum of Fine Arts, Rio de Janeiro), exhibited in 1860 in honor of the French actress and singer Anna de La Grange in his role as Norma, character of Vincenzo Bellini’s opera. The article analyzes the criticismo of the period, the career of Anna de La Grange, the international models about theatrical portraiture and its circulation in Brazil, as well as the renewal of portraiture present in the collection of paintings of the Imperial Academy of Fine Arts.
KEYWORDS
Portrait; Anna de Lagrange; Louis-Auguste Moreaux
