The Moldavian princess Zoie Ghika is depicted in a manner that differs from the bulk of Roslin’s portraits. The princess is shown without a wig. She is wearing Moldavian costume – a turban-like bonnet decorated with
roses, a white silk dress with silver ribbons and lace edges and a sleeveless fur jacket. Her costume is elegant without suggesting excessive wealth.
Russia had invaded Moldavia and Zoie Ghika’s father, a tributary prince of the Ottoman Sultan, was executed. His family became political pawns and were taken to the court of Catherine the Great, who also commissioned
this portrait. The Moldavian princesses were an exotic addition to the Russian court. They were also a symbol of the geographic expansion of the Russian empire towards the Black Sea.
Alexander Roslin visited Russia in 1775 to take up commissions from the Russian court. He stayed there for about two years and received 75 commissions. Many of the commissions had to be finished after he returned
to Paris. The portrait of Zoie Ghika was one of the last that Roslin painted before returning to Paris. It is often cited to prove that the quality of his work did not deteriorate even when he working on numerous
commissions at the same time.
Even nowadays it is difficult not to be drawn into the portrait of the Moldavian princess. What do you see in her gaze and her posture? Is she a cowed princess or a proud refugee?
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