The making of the work, focus: The Truth

Before painting, Henner reflected on his composition and put his ideas down on paper. In this way, he produces numerous sketches that later enable him to choose the version that seems best. On this preparatory drawing, Henner starts with a vertical composition and depicts his figure standing. His hair color is already defined: his Vérité will be redheaded, as evidenced by the sanguine used to complement the Conté square. This version is closer to the iconographic tradition, as it associates the allegory with its two attributes: the mirror and the well.

This study repeats the vertical composition sketched in the drawings. This painting shows two superimposed female figures. This implies that Henner, having restarted his painting on the same canvas, painted directly over the first version by turning his support ninety degrees. In contrast to the previous drawing, the allegory here appears devoid of its attributes.

This Truth is the version that comes closest to the final work, now lost. Some time after beginning his research, Henner learned that his work was not to be vertical in format, but horizontal - the architect had made a mistake in the measurements communicated. He then rethought his painting and installed his seated figure at the edge of the well, the only attribute finally retained. In this new version, the left-hand side of the composition is devoted to the figure, while the right-hand side gives pride of place to nature.