The portrait was kept by the madame de pompadour's brother for a long time. Then evacuated to Chateau de Chambord in World War 2, now safely kept in the Museum of Louvre currently.
The pastel potrait by Maurice Quentin de la Tour of Marquise de Pompadour or Madame de Pompadour is a brilliant piece of portrait made in Rococo style. Madame chose De la Tour to make her portrait as he was the most gifted portraitist to capture a person's personality and tastes. The origin of Madame de Pompadour was from the commoners and hence her image was attacked criticizing her manners and her tastes. Thus De La tour took a challenge to capture what she was as a person. He began with outlines, proceeding to model the figure with less or more strokes. However the process included cutting eight sheets of blue paper and glue it on the canvas. She is depicted in the portrait, sitting in an inner room as she is leafing through her music notebook, her gaze is lost in thought. Behind her, there is detailed depiction of still life, portraying the disciplines she practices or supports like a baroque guitar, six books from her library, a globe, an engraving manual, and at her feet, a drawing portfolio bearing her coat of arms. This portrait shows her eagerness to break the traditional portrait formats and hence she chose such an intimate setting. She is seen wearing a French style gown, which is worn at courts or official ceremonies whose refinery and delicate details show her elegance. However her absence of jewellery is attack to those who say she is frivolous and someone who spends too much. However the portrait was successful in conveying that she is a woman of impeccable taste, whose political and artistic views were way ahead of her time.
Looking at the painting, you are instantly struck by the sheer presence of the woman sitting there, Madame de Pompadour. She is dressed in this absolutely stunning, heavy silk gown that seems to cascade all around her like a waterfall of gold and blue floral patterns. The fabric has this incredible sheen, and you can almost feel the crisp texture of the lace detailing around her sleeves.
She isn't just posing to look pretty, though; she is surrounded by things that tell you she’s incredibly smart and cultured. There's a pile of books right next to her on a beautifully carved wooden table, one of them looks like an encyclopedia, if I'm remembering correctly and she’s holding open a large book of sheet music, pausing as if she was just interrupted mid-song. Her expression is calm, almost thoughtful, looking off to the side with a faint, knowing smile. Behind her, tucked away somewhat in the shadows, you can see the neck of a guitar-like instrument, maybe a lute? No, looks like a guitar, resting against the chair.
The room itself feels very deep and rich, dominated by these cool, deep teal or blue-green walls that make her pale skin and bright dress just pop right out at you. On the wall behind her hangs a large, heavy framed landscape painting, adding to that wealthy, upper-class atmosphere. Down on the floor, there is a large leather portfolio stuffed with drawings or prints, tying into the whole theme of her being a great patron of the arts. The lighting is soft but focused, coming from the left, highlighting the delicate folds of her dress and the soft powder in her hair. It’s just a beautifully balanced piece that breathes life into history.
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By: ARNAV DEY
The painting given above is a great example of French paintings in the eighteenth and early nineteenth centuries. It gives a glimpse into the life of the French aristocracy, here the women of the class, which shows the coexistence of higher status, pomp and elegance with looming societal control, ideals and expectations in the background. On the other hand, the painting is an excellent ouvre (French for artwork) reflected in the high finishing, realistic use of light and shade, intricate accuracy in details and a soft, sophisticated elegance reflected from the subject- all speaking loudly the artist's accomplishments as an excellent painter.
