亞森特‧里戈（Hyacinthe Rigaud, 1659-1743）剛開始投身於歷史畫的創作，並以歷史畫獲得法國學院的肯定，然而在肖像畫的創作使他成為法國巴洛克重要畫家。在十七世紀的法國，肖像畫仍被視為較次等的繪畫種類，然而隨著身分地位表徵的需求及里戈獨特的繪畫表現，提升了肖像畫的地位，並為同時期及後繼肖像畫家樹立典範。

因里戈肖像作品的表現形式近似范‧戴克（Anthony van Dyck, 1599-1641），故里戈在世時被比擬為法國的范‧戴克，而其肖像作品得有「完美的相似性」（une parfaite ressemblance）此一美譽。

本幅作品描繪勃艮第公爵夫人（Duchesse de Bourgogne）薩伏依的瑪麗亞‧阿德萊德（Maria Adelaide of Savoy, 1685-1712）和她的小孩，阿德萊德和她的丈夫路易斯勃艮第公爵（Duc de Bourgogne）共生下三名男孩。第一位出生的小孩在襁褓年紀時便去世，他的爵位名號布列塔尼公爵（Duc de Bretagne）則由在他逝世後才出生的二弟繼承，為畫面中站於母親左邊的小男孩，從其服飾、姿態可明顯看出其特殊的身分地位。

1711年4月14日當路易十四的皇太子（Gran Dauphin）逝世時，勃艮第公爵繼承法國皇太子的身分，因此勃艮第公爵夫人在畫面中披著飾有代表法國皇室的花飾（Fleur-de-Lys）的藍色白鼬皮毛長袍，影射她為法國皇太子之妻的身分。1712年2月12日阿德萊德逝世於麻疹疫情，而後其先生及其二子布列塔尼公爵也於3月初病逝。畫面中坐在阿德萊德懷中最小的兒子──安茹公爵（Duc d'Anjou）便在意外的情況下成為法國皇太子，並於1715年繼承其曾祖父的王位成為路易十五。(蔡敏玲)

Hyacinthe Rigaud (1659-1743) earned a place of prominence amongst the French Baroque artists with his portrait paintings. In 17th century France, portrait paintings were still seen as secondary categories of artistic work. But with the need to display status and Rigaud's unique styles, portrait paintings eventually became more valued. And Rigaud’s portraits come to as a model for portrait paintings during the same period and later.

This painting depicts the Duchesse de Bourgogne, Maria Adelaide of Savoy (1685-1712) and her children. The Duchesse and the Duc de Bourgogne had three sons, after the eldest died in infancy, the title "Duc de Bretagne" was passed to his younger brother born after his death. This is the little boy standing to the left of his mother in the scene. From his attire and posture, his special status and position can be clearly seen.

When the Grand Dauphin of Louis the Fourteenth passed away on 14 April, 1711, the title was passed on to the Duke of Bourgogne. Therefore in the depiction, the Duchess is draped in a long blue ermine cape covered in Fleur-de-lys to signify her position as the wife of the Grand Dauphin. But after the subsequent illness and death of her husband and the Duc de Bretagne, the infant seated on the Duchess' lap in the painting, the Duc d'Anjou, unexpectedly became the Grand Dauphin and in 1715 inherited the throne of his great-grandfather to become Louis the Fifteenth.

Rigaud was skilled in depicting realistic facial expressions of his subjects within an elegant framework. In this painting he uses different-textured materials to emphasize the status of the characters and add a sense of vitality to the image. The portrait style he was most famous for was the “portrait d'apparat,” which was used to show the status and power of the subject. As his works were much favored by nobles, he was appointed portrait painter of the House of Bourbon. He painted portraits of Louis the Fifteenth at different stages of his life. (Min Ling TSAI)