#Troubetskoia
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wallacepolsom.bsky.social
Natashia Troubetskoia, “Anaïs Nin” (c. 1932), oil on canvas, 110.5 x 193 cm.
February 15, 2026 at 12:58 AM
mdstamper.bsky.social
Anaïs Nin by Natashia Troubetskoia (Russian) - Oil on canvas / c. 1932 - Smithsonian's National Portrait Gallery (Washington DC) #womeninart #femaleartist #womanartist #portraitofawoman #womensart #art #oilpainting #smithsonian #AnaisNin #AnaïsNin #NatashiaTroubetskoia #Troubetskoia #RussianArtist
French-born American diarist, essayist, novelist, and writer of short stories and erotica Anaïs Nin wrote about female identity and sexuality in a style that was both explicit and poetic. Her most significant work, a diary spanning six decades, recounts her transformative experiences in Paris from 1926 to 1939. At first, Nin felt intimidated by the French capital’s competitive literary scene. She hid her insecurity behind “original, striking clothes which distinguish me from other women.” She was delighted when a blue velvet coat she had made was mistaken for a design by the eminent couturier Jeanne-Marie Lanvin. It appears in this portrait by the Russian artist Natashia Troubetskoia, who admired Nin’s eccentric style. In between portrait sittings, Nin was writing her first book -- a study of the writer D.H. Lawrence. Published in 1932, its shocking sexual candor marked her distinctive literary voice. As she wrote in her diary, she no longer needed clothing to express her uniqueness. “I have other things to do.” Troubetskoia was reportedly a princess who fled to Paris after the Bolshevik revolution. She met Nin in January 1929 and painted several portraits of her including this one in 1932. She also used Nin as a model for other paintings, and Nin used the Princess's studio as a mailing address and meeting place in Paris. In the painting, we see Nin elegantly dressed in a long royal blue velvet robe with gray fur trim, sitting regally on an ornate chair with her legs crossed and head slightly cocked to her right while exuding an air of quiet confidence and sophistication. She is striking with dark, shoulder-length wavy hair, extremely fair skin, and dark eyes that hold a direct gaze at us. She wears a dark pendant necklace and her hands, adorned with rings, rest gracefully on the arms of the chair. She wears white stockings and dark pointy shoes with delicate straps. Her pose is one of relaxed yet controlled dignity making her as memorable as her writings.
April 11, 2025 at 6:06 AM
valent6228.bsky.social
Anaïs Nin (1932) - Natashia Troubetskoia
November 16, 2024 at 5:46 AM
laurentpotelle.bsky.social
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Anaïs Nin

🎨 Anaïs Nin en 1932 par la peintre Natashia Troubetskoia
Portrait très beau d'Anaïs Nin en 1932 par la peintre Natashia Troubetskoia
January 12, 2026 at 8:22 PM
francescagdesnoyer.bsky.social
Retrato de Anaïs Nin, 1932. Natashia Troubetskoia. National Portrait Gallery , Washington, D.C.
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@lserrat77.bsky.social
March 5, 2025 at 8:05 AM
sdcushing.bsky.social
Michael @mdstamper.bsky.social posts an interesting look at the writer Anaïs Nin and the woman who painted her in this portrait, Natashia Troubetskoia (see the alt/text for more):
mdstamper.bsky.social Michael @mdstamper.bsky.social · Apr 11
Anaïs Nin by Natashia Troubetskoia (Russian) - Oil on canvas / c. 1932 - Smithsonian's National Portrait Gallery (Washington DC) #womeninart #femaleartist #womanartist #portraitofawoman #womensart #art #oilpainting #smithsonian #AnaisNin #AnaïsNin #NatashiaTroubetskoia #Troubetskoia #RussianArtist
French-born American diarist, essayist, novelist, and writer of short stories and erotica Anaïs Nin wrote about female identity and sexuality in a style that was both explicit and poetic. Her most significant work, a diary spanning six decades, recounts her transformative experiences in Paris from 1926 to 1939. At first, Nin felt intimidated by the French capital’s competitive literary scene. She hid her insecurity behind “original, striking clothes which distinguish me from other women.” She was delighted when a blue velvet coat she had made was mistaken for a design by the eminent couturier Jeanne-Marie Lanvin. It appears in this portrait by the Russian artist Natashia Troubetskoia, who admired Nin’s eccentric style. In between portrait sittings, Nin was writing her first book -- a study of the writer D.H. Lawrence. Published in 1932, its shocking sexual candor marked her distinctive literary voice. As she wrote in her diary, she no longer needed clothing to express her uniqueness. “I have other things to do.” Troubetskoia was reportedly a princess who fled to Paris after the Bolshevik revolution. She met Nin in January 1929 and painted several portraits of her including this one in 1932. She also used Nin as a model for other paintings, and Nin used the Princess's studio as a mailing address and meeting place in Paris. In the painting, we see Nin elegantly dressed in a long royal blue velvet robe with gray fur trim, sitting regally on an ornate chair with her legs crossed and head slightly cocked to her right while exuding an air of quiet confidence and sophistication. She is striking with dark, shoulder-length wavy hair, extremely fair skin, and dark eyes that hold a direct gaze at us. She wears a dark pendant necklace and her hands, adorned with rings, rest gracefully on the arms of the chair. She wears white stockings and dark pointy shoes with delicate straps. Her pose is one of relaxed yet controlled dignity making her as memorable as her writings.
April 11, 2025 at 1:37 PM
mikanojo.bsky.social
Anaïs Nin
Natashia Troubetskoia
oil on canvas
1932
A painting of Anaïs Nin, wearing a deep blue coat, trimmed with gray fur. She sits on a large throne-like chair, with large pillows and draped cloth.
November 16, 2024 at 4:48 PM
samer.is
A little detour to NPG for the Brilliant Exiles: American Women in Paris, 1900–1939 exhibit.
“Le Tumulte Noir: Dancer in Magenta” by Paul Colin. “This vibrant image highlights the energy and flamboyance of African American performers on the Paris stage. […] The dancer depicted here may represent Tillie Meadows or Lucia Lynn Moses. They wore similar costumes while appearing with Mills in the Blackbirds number "Jazz Time Came from the South." The gratuitous exposure of a breast typifies the sexual-ized portrayal of women entertainers in Paris.” Romaine Brooks, self-portrait, 1923. This portrait shows the artist in a gray environment with some dark buildings in the background. The artist is wearing a black coat and gloves and a black hat, her shirt pops in white from under the coat. Anaïs Nin, by Natashia Troubetskoia, c. 1932. This shows Nin sitting on a throne of sorts in a striking blue coat. “In Exaltation of Flowers: Rose-Geranium; Petunia-Caladium-Budleya; and Golden-Banded Lily-Violets Katharine Nash Rhoades 1885-1965 Marion H. Beckett 1886-1949 Mercedes de Cordoba Carles 1879- 1963”. From the art plaque: “These three monumental portraits by Edward Steichen belong to a series of seven paintings. Agnes Ernst Meyer and her husband, Eugene Meyer, commissioned them for their Manhattan townhouse. The works recall the garden outside of Paris where Steichen entertained the Meyers and the three women represented here.”
October 13, 2024 at 2:01 PM