Lola Montez (1818–1861) was the most famous of the international performers who toured Australia during the boom years of the 1850s. Irish-born, she had spent much of the 1840s touring throughout Europe, attracting praise and scandal in equal measure while also compiling an impressive register of lovers: among them King Ludwig I of Bavaria, who abdicated on her account. After five years in America, she arrived in Australia in 1855 and performed in Sydney, Melbourne and Adelaide before heading to the goldfields. Her signature 'Spider Dance' – in which she enacted having a spider caught in 'an extremely short gauze skirt' – caused outrage in some places but was much loved by audiences in Ballarat, Bendigo and Castlemaine. She left Australia in 1856 and took to lecturing on beauty and morality when her stage career ended. She died from syphilis-related symptoms at age 42 and was buried in Brooklyn.
It is thought that this is one of two portraits of Montez commissioned by King Ludwig I from Joseph Stieler, who painted thirty-six works for the 'Gallery of Beauties' at Nymphenburg Palace, Munich. Stieler's other portrait of Montez is still displayed there. This portrait, however, was not to the King's satisfaction. He is believed to have given it to Montez, who took it to England where it was sold in 1849.
Purchased 2010
This is an oil on canvas painting of Lola Montez, attributed to Joseph Karl Stieler, 1845. The canvas is 105cm high and 85cm wide, surrounded by a highly ornate gilt frame. The frame is carved through in a fern and scroll design. In parts, the gilt has rubbed off and darkened with age.
The background is a golden brown. Lola gazes over her left shoulder towards the viewer. She leans forward, reaching with her left arm beyond the edge of the canvas. Lola’s head and shoulder are swathed in a black lace veil, it falls from her head over a black bonnet, perched at the back of her glossy, dark hair.
Her wavy hair, parted in the centre, frames her pale, youthful face. A warm-red, velvet rosette is tucked under the edge of her bonnet to the right side of her middle part. Her ears are hidden by her hair which is tucked neatly, disappearing into her veil.
Lola has a warm, flawless completion and thick, arched eyebrows. Her dark blue, almond-eyes throw a glance over her left shoulder; Lola has a delicate, straight nose, rose-bud lips parted slightly in an alluring way, revealing a glimpse of small, pearl-like teeth and a rounded chin.
In contrast to the deep colour of the portrait, a white lace-edged collar cups the base of her neck. Under the white collar, a black jacket reminiscent of a Spanish matador. At her shoulder is a large satin bow, fringed and draping over the top of the sleeve like an epaulette. This addition broadens the shoulders and emphasises Lola’s tiny waist.
Long, shiny, jet beads encircle her jacket sleeve in an embroidered pattern that repeats evenly along the length of her arm. From her shoulder, three lines of jet beads trail down her back, leading to the jacket’s elaborately embroidered waistband, which sits snuggly over the top of her gathered crimson skirt.
Audio description written by Leigh Renneberg and voiced by Carol Wellman Kelly
On one level The Companion talks about the most famous and frontline Australians, but on another it tells us about ourselves.
21 December 2020
In their own words lead researcher Louise Maher on the novel project that lets the Gallery’s portraits speak for themselves.
Joanna Gilmour explores the fact and fictions surrounding the legendary life of Irish-born dancer Lola Montez.
