1st Portrait of Heloise: https://youtu.be/7QRSzyUVNtA?si=dUj0E3koD9izJO6R

2nd Portrait of Heloise: https://youtu.be/76T6S3iCHZM?si=lORfj3iwpnSyq7E8

Throughout Portrait of a Lady on Fire, several scenes highlight the difference in artistic techniques and choices between the initial and final portrait, reflecting the evolving relationship between the artist and her muse. The film is so heavily focused on the actual painting that I thought watching and comparing these videos showing more of the creative process of the actual painter, Hélène Delmaire, completing each portrait offer much more insight into themes of agency and connection (it’s also very satisfying to watch). The adjustments Delmaire makes to the sketching, depth, brushstrokes, color and various other details of the painting signals Marianne’s deepening understanding of Heloise as the story progresses and these artistic shifts not only mark the technical growth of the portrait but also mirror the emotional connection that develops between the two women from the beginning to the end of the film.

Due to the secretive nature of her task, when Marianne painted the first portrait, she couldn’t directly observe Heloise during the sketching stage. Instead, she relied on fleeting looks and stolen glances, sketching her features during the day and transferring them to canvas at night. Early in the film, we see rough sketches of Heloise’s detached, isolated body parts—ears, hands, eyes—signaling that, at this stage, Marianne could only perceive Heloise in fragmented parts rather than as a complete whole, somewhat objectifying her as if she was a still life. Since Heloise actually sat for the second portrait Marianne was able to perform a more comprehensive sketch that resulted in a more comprehensive image.

Between the two portraits I see an obvious change in depth. In the first painting, Heloise is depicted facing forward, looking directly at the viewer and I think this straightforward presentation shows Marianne’s initial, flat, two-dimensional perception of Heloise. In contrast, the second portrait shows Heloise sitting and posing with her body turned away from the painter, yet her head is turned towards Marianne, looking directly at her and this new positioning is far more dynamic. It almost seems to empower Heloise, as her turned head and engaged eyes suggest an active choice to connect with the viewer. The second portrait even highlights more of the actress’s furrow permitting the emotion she clearly is capable of expressing rather than the docile, subservient look of the initial portrait’s face. This shift not only highlights her agency within the composition but also deepens the emotional resonance of the piece, marking a significant evolution in their relationship.