A Fair Reflection

Müller was well-known among the nineteenth-century Parisian bourgeoisie for his portraits. The example of the presented work clearly reveals Müller's aspirations and interest in orientalist portraits, representing the attractions of the East and its exotic charm

This question is extremely difficult to answer today, especially since nothing is known about this subject. Nevertheless, the Georgian Duke Andria Dadiani, who owned the painting in the 19th century, believed that it portrayed a Georgian woman.  The reason for this presumption was the woman’s exotic appearance. 

They have just woken up, the woman is clothed in a free manner. The little girl standing behind her mother is barefoot. She is playing with her mother’s hair and necklace. It is early in the morning, and the first glow of the golden dawn appears behind a burgundy curtain.

In nineteenth-century paintings, the language of symbols was of great importance. The inclusion of flowers, namely the rose, occupied a prominent place as it was a symbol of love, youth, and attractiveness. 

However, the symbolism of flowers in this picture does not end there. Behind the balcony railing, beautiful and abundantly sprouted branches of mallows emerge. They are a symbol of wealth and passionate love. 

Using the mirror and its reflection, the artist shows us the scenery that lies beyond the frame. Light and shadows play in this small reflection, and through the lightened tunnel, we seem to be transported to a distant yet mysterious world.  

Everything in the painting is dynamic. We feel as if we have been witnessing the movements for a fleeting moment. This effect is conveyed through the depiction of the child's foot and the woman's supporting hand - the ephemeral rhythm of their movement.