The artist painted a portrait of his brother-in-law Charles. He did not even think that the portrait turned out to be unusual, how much in it was dictated not by the model, but by the time.
A man of new times appeared on the canvas: not an exquisite nobleman, not a sensible bourgeois, or a stern ascetic from the Convention. Charles Serizia sat in a pose elegant and slightly affected, throwing his knee in a thin boot on his knee. An elastic, light whip trembled in his fingers. Dark chocolate, a coat open on his chest, allowed me to see a white waistcoat and a magnificent tie, pantaloons of fair skin fitted tight thighs. A tall round hat with a cockade is put on slightly beforehand, curled hair is powdered.
He might seem like a carefree dandy, but something in his pretty face was wary. Cold skepticism, indifference behind external gaiety, arrogance of a man not sure of tomorrow. Not everyone knew how to take advantage of the fruits of the revolution, not all could fit into the post-revolutionary life.
The very appearance of the portrait was unusual: a suit, a manner of holding on, a dry elegance of the silhouette against the background of the sky combined with carelessness, almost unrestrained pose. The portrait captivates the Serisia couple with carefree ease of colors, perfect similarity.
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