In 1745, Jeanne-Antoinette Poisson became the official mistress of Louis XV. Out of the many portraits commissioned, this one is the most unusual yet fascinating of them all. Though the painting was made in 1750, many changes were made to it over the following years, at least until the last decade of the 18th Century. At first glance, this appears to be a simple painting of a noblewoman tending to herself. But a closer look reveals that it is so much more. Madame de Pompadour looks young and radiant, but in real life was 37, sickly and mistress of the King only in name. And yet held political power in the court. This makes the painting not just a beauty to adore but a silent message of power she still held. The ordinary scene of the toilette is a direct symbol of elegance and regency she and the French noblewomen held. It’s aristocratic, idealising and shows elite-ness. Pompadour is also compared to Venus, using the pearls and flowers and femininity associated with the beauty standards then. It’s also interpreted that ‘makeup’ is a symbol for a world constructed on acts and facades rather than the actual self. This way, femininity was framed to be artificial and hence shallow and superficial. The Rococo style exemplifies that softness associated with feminine energy.
The image of Madame Pompadour is laced with beauty, refinement and grace. The bracelet on her wrist is from Louis XV of France, to whom she served as a mistress.
Though created in an image of utmost beauty and grace, the painting also highlights the cosmetic appearance of her beauty. Her ivory skin contrasts with her dark, powdery-pink cheeks and lips, which appear unnatural, signifying the artificiality of her appearance. She holds the blusher brush in her hand, with a blush in the other, sitting across a mirror, as if tending to her beauty, in order to keep up with the standards of French society. Her hair is combed neatly on her hand, atop which sits delicate blue floors which she must have chosen amongst the other yellow, green and blue that sit on the table.
