Portrait Of Madame De Pompadour (presumed Of) Jean-marc Nattier (follower Of) Eighteenth Louis XV

Superb portrait of presumed woman of Madame de Pompadour (1721-1764), favorite of Louis XV.

The portrait is from the 18th century as evidenced by the beautiful network of cracks.

Of great quality, it is to be compared with the works of the painter Jean-Marc Nattier, recognizable among others by his famous blue.

The painting is sold with its beautiful gilded frame in carved wood of Louis XV era.

It is in good condition, it was previously repainted. Some old repaints are to be noted.

Frame dimensions: 81.5 x 69 cm
Dimensions outside frame: 58 x 46 cm

Jeanne-Antoinette Poisson, Marquise de Pompadour (1721-1764)

Jeanne-Antoinette Poisson, Marquise de Pompadour and Duchesse de Menars, known as Madame de Pompadour, is a titular mistress of King Louis XV, born on 29 December 1721 in Paris and died on 15 April 1764 at the Palace of Versailles.
Introduced to the court by relations, she was noticed by King Louis XV and became his mistress in title for six years, from 1745 to 1751.
Louis XV had him build the Petit Trianon and the Château de Bellevue as a residence, and offered him the estate of Pompadour, which enabled him to become a marquise and acquire the nobility. His bourgeois origins attracted criticism from the aristocracy.
From the 1750s on, the Marquise was no longer the king’s mistress, but retained an ascendant as a confidant and friend of the sovereign. In this sense, she encouraged the development of Place Louis XV (now Place de la Concorde) or the creation of the Sèvres porcelain factory, near her residence in Bellevue. Madame de Pompadour particularly enjoyed architecture and decorative arts. In 1753, it acquired the Hôtel d'Évreux in Paris, now known as the Palais de l'Élysée. The marquise is also interested in literature and encourages the publication of the first two volumes of the Encyclopedia of Diderot and Alembert.

Jean-Marc Nattier (1685-1766)

He was the son of the portraitist and painter of the Académie Marc Nattier and the younger brother of Jean-Baptiste, a history painter.
Noticed by Louis XIV, who authorized him to draw and engrave the History of Marie de Médicis (1700-1710), he worked for Pierre le Grand in Holland and Paris (1717), then was received academician in 1718 with Perseus changing Phinée to stone (museum of Tours). With Watteau, he then drew the paintings of the king and regent for the financier and famous collector Pierre Crozat (1721) and collaborated with J.-B. Massé with engraved plates after the decorations of the Grand Gallery of Versailles (1723-1753).
Very early on Nattier specialized in portraiture: his first effigies recall the art of Raoux with a play of light, a shimmering of similar fabrics, but of a more secure drawing (Mademoiselle de Lambesc under the figure of Minerve, 1732, Louvre). He quickly became the favourite painter of the House of Orleans, working on the decoration of the Temple (1734-1748), whose grand prior was Jean-Philippe, knight of Orleans. Of a series of commissions dating from the 1740s, these are the two portraits of the two younger sisters of the Countess de Mailly, mistress of Louis XV, Madame de Flavacourt and Madame de La Tournelle (rehearsal at the Marseille museum), portraits greatly admired by the Court, which allowed him to enter Versailles. From that moment on, Nattier became the painter of the royal family: Marie Leszczyńska (1748, Versailles), and more particularly of Mesdames de France: Madame Henriette en Flore (1742, Versailles); Madame Adélaïde en Diane (1745, id.); allegorical portraits of Mesdames, commissioned by the Dauphin (1751, São Paulo Museum).  He transposes the majestic character of the figures of Rigaud, draped in velvet to a more pleasant plan: one of the most brilliant portraitists of the century, he lends to all his models an expression of softness a little effeminate. Nattier holds attention for his great sensitivity: it is less the greatness of a character of the Court or of the royal family than the sweetness, the elegance, the lightness nuanced with melancholy that are the interpretation of a society where the role of the woman grows in a language that evokes the works of Rousseau and announces the sensitivity of the portraits of Greuze or E. Vigée-Lebrun.

Photos are taken in natural light.
Neat packaging.
Shipping costs borne by the buyer.
Direct delivery around Limoges (100km) and in the Loire Valley region.
I remain at your disposal for any further information and photos.