The portrait of Mademoiselle Caroline Rivière was painted in 1806 by the French Neoclassical artist Jean Auguste Dominique Ingres, and today hangs in the Louvre. It is the third of three portraits of the Rivière family the artist painted that year. Caroline's father, Philibert Rivière, was a successful court official under Napoleon's empire, and sought to commemorate himself, his wife and daughter through a commission with the then young and rising artist - his portraits of Philibert and his wife are also still extant. Although Ingres favoured subject matter drawn from history or Greek legend, at this early stage in his career he earned his living mainly through commissions from wealthy patrons.[1] The family lived outside Paris, at St. Germain-en-Laye, and Mademoiselle Caroline Rivière would have been between 13 and 15 at the time she was portrayed; according to Ingres the "ravishing daughter".
The younger Rivière's portrait describes slightly-built and youthful femininity and hints at a hesitant openness. The painting is rendered in bright hues and set against a serene white–blue early spring landscape, the freshness of which was intended to reflect the youth of the sitter. The background is not deeply portrayed; the perspective is shallow and rises—according to the art historian Robert Rosenblum—in "flattened horizontal tiers against which the figure seems crisply silhouetted as if in low relief."
Typical of portraits by Ingres of the time, Caroline Rivière is drawn with a disregard for anatomical accuracy. Her neck is overly elongated, and the bridge of her nose extends too far.Rivière is portrayed with a stiffness and awkwardness typical of her age, and shown in a manner which was intended to emphasise a sense of the nascent purity and simplicity of her youth. Yet the painting is generally seen in the light of pathos and tragedy, as the sitter died within a year of the work being completed