Red Gallery - Musée Cognacq-Jay

PORTRAITS AND THE
EMERGENCE OF THE INDIVIDUAL
To the Stairs
2
4
A 3 B
5
Red Gallery
1
C
8 7 6
10
9
To the Salon Boucher
The numbers indicated on the plan are a reference to the works of art presented below.
The marked objects are now on loan.
The informations presented on these index are also available on our web site.
www.museecognacqjay.paris.fr
1
Maurice Quentin de La Tour (1704-1788)
Portrait of Madame la présidente de Rieux,
in a ball gown, holding a mask, undated
Pastel on paper mounted on canvas
Ville de Paris, musée Cognacq-Jay
Inv. J 120
3
Adélaïde Labille-Guiard
(1749-1803)
Portrait presumed to be of
Philiberte-Orléans Perrin
de Cypierre, Countess of
Maussion, ca. 1787
Oil on canvas
2
Nicolas de Largillierre (1656-1746)
Portrait presumed to be of Madame la
duchesse de Beaufort, 1714
Ville de Paris, musée
Cognacq-Jay
Inv. J 71
Oil on canvas
Ville de Paris, musée Cognacq-Jay
Inv. J 72
A
Attributed to Jean-Baptiste II Lemoyne
(1704-1778)
Bust of a young girl, undated
Terracotta
Ville de Paris, musée Cognacq-Jay
Inv. J 229
B
Attributed to Jean-Baptiste II Lemoyne
(1704-1778)
Bust of a young girl, undated
Terracotta
Ville de Paris, musée Cognacq-Jay
Inv. J 231
Adélaïde Labille-Guiard, portraitist and miniaturist, was
the daughter of a haberdasher. In 1765, she began taking
classes with François-Élie Vincent at the Académie de SaintLuc. There she met the son of the master, François-André
Vincent, whom she married – her second marriage. She
continued her apprenticeship with the pastellist Quentin de
La Tour. Her career illustrates how difficult it was for women to
be accepted as members of the Royal Academy. She was
accepted into the Academy, in 1783, at the same time as
Élisabeth Vigée Lebrun, in spite of a misogynist pamphlet
published that same year against women painters exhibiting at
the salon.
PORTRAITS AND THE
EMERGENCE OF THE INDIVIDUAL
4
Marie-Louise-Élisabeth Vigée-Lebrun
(1755-1842)
Portrait of Marie-Louise-Adélaïde-Jacquette de
Robien, vicomtesse de Mirabeau, 1774
7
Studio of Jean-Marc Nattier
(1685-1766)
Marie Leszcynska, queen of
France, ca. 1750-1765
Oil on canvas
Oil on canvas
Ville de Paris, musée Cognacq-Jay
Inv. J 105
5
Ville de Paris, musée CognacqJay
Inv. J 88
Copy after Sir Joshua Reynolds
(1723-1792)
Portrait of Mrs Richard Bennett Lloyd of
Maryland, s.d.
Oil on canvas
Ville de Paris, musée Cognacq-Jay
Inv. J 97
C
The original portait of the 45 years old queen of France,
today shown in le Château de Versailles, was noticed at the
Salon of 1748 and very copied. The centring up framing of the
Cognacq-Jay version, of a good quality, pays tribute to simple
dressing of the queen : a dress of red velvet lined with fur.
This command corresponds to the last portrait of this protector
and patroness of the arts, daughter of Stanislas Leszczynski,
king of Poland. Born in 1703, she is married to Louis XV in
1725 and gives him ten children.
Joseph Chinard (1756-1813)
Portrait presumed to be of Juliette Récamier,
undated.
Terracotta
Ville de Paris, musée Cognacq-Jay
Inv. J 202
8
6
Copy after Jean-Marc Nattier
(1685-1766)
Portrait of the Marquise de
Flavacourt, as Silence,
undated
Copy after Jean-Marc Nattier (1685-1766)
Portrait of Marie Anne de Mailly-Nesle,
Marquise de La Tournelle, later Duchesse de
Châteauroux, as Dawn, undated.
Oil on canvas
Ville de Paris, musée Cognacq-Jay
Inv. J 87
Oil on canvas
Ville de Paris, musée Cognacq-Jay
Inv. J 88
9
Attributed to Jean-Honoré Fragonard
(1732-1806)
Portrait presumed to be of Charlotte-Françoise
Bergeret de Norinval, ca. 1790
Oil on canvas
These two paintings (n° 6 and 8) are copies of the portraits
which launched Jean-Marc Nattier's career in 1740. The
Duchess of Mazarin took her two nieces, the pretty young Nesle
sisters (later to become Mme de Châteauroux and Mme de
Flavacourt) to Nattier's studio to be painted as the allegories of
Dawn and Silence respectively. Three of the four Nesle sisters
were official mistresses, one after the other, of Louis XV between
1733 and 1744. The Marquise de Flavacourt was the only one in
the family who managed to avoid the Kings advances.
Ville de Paris, musée Cognacq-Jay
Inv. J 30
10
Attributed to Nicolas de Largillierre
(1656-1746)
Portrait presumed to be of Élisabeth Delpech,
marquise de Cailly, undated
Ouil on canvas
Ville de Paris, musée Cognacq-Jay
Inv. J 73