The portrait of Countess Elisabeth (Eliza) Krasinskaya from the Volyn Landscape Museum is one of three surviving images of her by the well-known German portraitist Franz Xaver Winterhalter. The other two paintings are in Warsaw at the Royal Castle and the Wilanów Palace Museum, the latter depicting Krasińska with her children. Winterhalter is the author of two other depictions of her, whose place of storage is unknown or not preserved. The painting from the museum in Lutsk was created during the artist's best creative period, is signed and dated 1853, and was most likely painted in Baden-Baden.

In the conterfekt of Elisabeth Krasinskaya, the German artist masterfully balances idealism and realism. On the one hand, we have the faithful rendering of details such as the texture of the skin, the texture of the hair and the softness of the fabrics, which gives the portrait an authenticity. On the other hand, the painter used subtle brushstrokes, particularly evident in the facial features and hair of Countess Krasińska. This allows the model's beauty and grace to be emphasised, which gives the painting a timeless yet deviant verisimilitude.

The composition is thoughtful and balanced. The Countess's refined pose, despite the head turning away, does not appear forced, which emphasises her grace and femininity. Warm, natural tones dominate, adding to the image's calm and elegance. The red dress contrasts with the pale skin and white lace, which gives an impression of depth while emphasising the model's delicacy. Harmonious colour juxtapositions give the painting coherence and elegance, impressing with subtle colours and a masterful use of chiaroscuro to model the face. These treatments also allow the artist to create a three-dimensional impression. It is the play of light and shadow and the inversion of the head that adds depth and life to the representation.

The painting depicts Elżbieta Krasińska immersed in a melancholic reverie. The woman's face expresses calmness and reflection, while a subtle smile and a gaze directed away suggest nostalgic reverie. The eyes are expressive and vibrant, adding depth to the portrait. Unlike many of the artist's other works, the model's gaze is not directed at the viewer, but at something more indefinable, which emphasises the emotional overtones of the portrait.

The portrait of Countess Krasinska undoubtedly fits into the fashionable, albeit not very modern, mid-19th century salon painting. The focus on the individuality of the portrayed, the emotional overtones and the warm colours link this painting to the Romantic era. However, Winterhalter's painting seems to be deeply rooted in the Enlightenment tradition, with a more contemporary filter applied to it. The artist's approach is close to the aesthetic concept of Francis Hutcheson's 'inner sense', who argued that beauty is an objective quality that evokes pleasure in the observer through proportion, harmony and unity of form. Krasinskaya's portrait, through its careful depiction of harmonious facial features, subtle lighting and tasteful detailing of costume, can be seen as an embodiment of this concept.

In Krasinskaya's portrait, Winterhalter seems to aim not only to show external beauty, but also to portray moral beauty. The aesthetic pleasure evoked by the form and beauty of the portrayed seems to direct the viewer towards extra-material beauty. Not only the aesthetic, but also the ethical experience here becomes the effect of the viewer's sensory perception. Thus, we get not only an idealising image of Krasińska, but also a representation of her spiritual and moral qualities.

Eliza Krasińska was undoubtedly an extraordinary figure. Her biography was largely determined by her relationship with Zygmunt Krasiński, the Polish Romantic poet and national bard, who did not work out too well in the role of husband. A fiery love affair and later a friendship with a former lover, as well as extreme egocentrism, meant that life at the side of one of the greatest Romantics was not very romantic. After his death, she remarried Ludwik Krasiński, with whom she spent the last 16 years of her life. This was probably the best period of her life.

Although better known as a portrait painter, Elżbieta Krasińska also had artistic aspirations. She even took lessons from Delacroix and just Winterhalter, but never had the chance for her talent to fully develop. She remained a talented amateur, but art was undoubtedly her great passion.

The portrait of Countess Elisabeth Krasinsky by Franz Xaver Winterhalter is not only a beautiful and elegant work of art, but also full of life and emotion. Its masterful combination of realism and idealism, subtle colouring and skill in playing with light make this painting timeless and deeply affecting to the viewer.

For her help in gathering information about the object, I would like to thank Ms Ilona Nestoruk of the Volyn Landscape Museum in Lutsk.

The portrait can be found in the catalogue of the artist's works (at. 53kr-a] www.franzxaverwinterhalter.wordpress.com

Technique and material: oil on canvas
Size: 51 x 42 cm (oval)
Owner: Volyn Landmark Museum
Inv. No. Ж-41/ КВ -16478
Provenance: The portrait was donated to the museum in 1940 from the Radziwiłł Castle in Ołyka