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The New Portrait Déguisé: Social Identity of the Bourgeoisie in Eighteenth-Century France, Select Works by Jean-Marc Nattier

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The New Portrait Déguisé: Social Identity of the Bourgeoisie in Eighteenth-Century France, Select Works by Jean-Marc Nattier THE NEW PORTRAIT DÉGUISÉ: SOCIAL IDENTITY OF THE BOURGEOISIE IN EIGHTEENTH-CENTURY FRANCE, SELECT WORKS BY JEAN-MARC NATTIER A Thesis presented to the Faculty of the Graduate School at the University of Missouri-Columbia In Partial Fulfillment of the Requirements for the Degree Master of Arts by DANIELLE SARAH GIBBONS Dr. Michael Yonan, Thesis Supervisor MAY 2014 © Copyright by Danielle Sarah Gibbons 2014 All Rights Reserved The Undersigned appointed by the dean of the Graduate School, have examined the thesis entitled THE NEW PORTRAIT DÉGUISÉ: SOCIAL IDENTITY OF THE BOURGEOISIE IN EIGHTEENTH-CENTURY FRANCE SELECTED WORKS BY JEAN-MARC NATTIER presented by Danielle Sarah Gibbons a candidate for the degree of master of arts, and hereby certify that, in their opinion, it is worthy of acceptance. __________________________________________________ Professor Michael Yonan __________________________________________________ Professor Anne Rudloff Stanton __________________________________________________ Professor Carol Lazzaro-Weis Dedication I dedicate my thesis work to my wonderfully supportive family and friends who continually encouraged me throughout my studies. A special feeling of gratitude to my loving parents, Bennie and Patricia Gibbons whose guidance and many words of wisdom have helped me through this long journey. To my sister Michelle, who continually supported her ‘big’ sister and never failed to give her thoughtful opinions. To my good friend and fellow Southern-California native, Melissa Muñoz, who was always there when things got rough and understood how much I missed the beach. I am especially appreciative of, Dr. Patricia Anne Johnson for her mentorship and academic counseling. To my family and many friends, you have all been my biggest fans, and for that I cannot thank you enough. ACKNOWLEDGEMENTS I would like to express my deepest gratitude to my advisor, Dr. Michael Yonan, for his outstanding guidance, friendship, patience, and providing me with an excellent atmosphere and opportunity in conducting my research. I would like to thank Dr. Anne Rudloff Stanton, Dr. James A. van Dyke, and Dr. Kristin Schwain who have continually been supportive and encouraging, allowing me to incorporate my own research interests within their courses. I would also like to thank Dr. Carol Lazzaro-Weis for allowing me to sit in for her courses on eighteenth-century French literature, from which greatly aided my research. ii TABLE OF CONTENTS ACKNOWLEDGEMENTS ............................................................................................... ii. LIST OF FIGURES ............................................................................................................v. ABSTRACT ........................................................................................................................x. Chapter 1. INTRODUCTION ......................................................................................................1 Portraiture and Jean-Marc Nattier 2. HISTORIOGRAPHY ...............................................................................................13 Jean-Marc Nattier —Eighteenth-Century Scholarship to Present I. Nattier and Marie-Catherine Pauline (Madame Tocqué) II. Nattier and Denis Diderot III. Nattier Studies During the Late-Nineteenth Century and Early-Twentieth Century IV. Nattier and Pierre de Nolhac V. Nattier Studies after 1990 3. WATTEAU AND EIGHTEENTH-CENTURY PORTRAITURE ..........................34 Antoine Watteau in Relation to Nattier and Portraiture of that Century I. Nattier and Watteau II. Eighteenth-Century Portraiture iii 4. THE NEW PORTRAIT DÉGUISÉ .........................................................................66 Portrait ‘Types’: Water Nymphs, Diana, and Mother and Daughter I. Defining the Merchant Class II. The Merchant Class, Gender, and the Art Market III. Portrait Type: Water Nymphs IV. Portrait Type: Diana V. Portrait Type: Mother and Daughter 5. CONCLUSION ......................................................................................................117 APPENDIX 1. FIGURES ...............................................................................................................119 2. CHRONOLOGY OF NATTIER’S PAINTINGS ..................................................144 BIBLIOGRAPHY ............................................................................................................148 iv LIST OF FIGURES Figure Page 1. Louis-Michel Van Loo, Femme en vestale (Montpellier, musée Fabre) ..................................................................................115 2. Attributed to Pierre Le Sueur, Femme en source (unknown) ............................................................................................................115 3. Marianne Loir, Femme en Hébé (location) ..............................................................................................................116 4. Jean-Marc Nattier, Marie-Anne de Bourbon, dite Mademoiselle de Clermont, aux eaux minérales de Chantilly, 1729 (Chanilly, musée Conde) .....................................................................................116 5. Jean-Marc Nattier, Elisabeth de Flesselles en Source, 1747 (Princeton, Princeton University Art Museum) ...................................................117 6. Jean-Marc Nattier, Madame Victoire incarnant l’Eau, 1751 (Sao Paulo, Museu de Arte de Sao Paulo Assis Chateaubriand) .........................117 7. Jean-Marc Nattier, Carlotta Frederika Sparre en nymphe de Diane, 1741 (Dublin, The National Gallery of Ireland) ...........................................................118 8. Jean-Marc Nattier, Constance Gabrielle Magdeleine Bonnier de La Mosson sous les traits de Diane, 1742 (Los Angeles, The J. Paul Getty Museum) ..........................................................118 9. Jean-Marc Nattier, Madame de Maison-Rouge sous les traits de Diane, 1756 (New York, The Metropolitan Museum of Art) ..................................................119 10. Jean-Marc Nattier, Portrait présumé de Marie-Thérèse-Catherine Crozat, marquise du Châtel, et de sa fille Antoinette-Eustachie, 1733 (Indianapolis, Indianapolis Museum of Art) ........................................................119 v 11. Jean-Marc Nattier, Madame Marsollier et sa fille, 1749 (New York, The Metropolitan Museum of Art) ..................................................120 12. Jean-Marc Nattier, Une Vestale, 1759 (Raleigh, The North Carolina Museum of Art) ...................................................120 13. Maurice-Quentin de La Tour, Portrait of Prosper Jolyot de Crebillon, 1761-1770 (private collection) ...............................................................................................121 14. Maurice-Quentin de La Tour, Pierre-Louis Laideguive, c. 1761 (Museu Nacional d’Art de Catalunya) .................................................................121 15. Jean-Marc Nattier, Madame Infante en habit de chasse, 1760 (Versailles, musée national des châteaux de Versailles et de Trianon) ...............122 16. Jean-Marc Nattier, Jean-Marc Nattier et sa famille, 1730-1762 (Versailles, musée national des châteaux de Versailles et de Trianon) ...............122 17. Jean-Marc Nattier, Madame Le Fevre de Caumartin as Hébé, 1753 (Washington DC, National Gallery of Art) ..........................................................123 18. Jean-Marc Nattier, Persée, assisté par Minerve, pétrifie Phinée et ses compagnons en leur présentant la tête de Méduse, 1718 (Tours, musée des Beaux-Arts)............................................................................123 19. Jean-Antoine Watteau. Pilgrimage to the Isle of Cythera, 1717 (Paris, Musée du Louvre) .....................................................................................124 20. Jean-Antoine Watteau. L’Enseigne de Gersaint, 1720-1 (Charlottenburg Palace, Berlin) ...........................................................................124 21. Jean-Marc Nattier, Jacques Fitz-James, duc de Berwick, 1723 (Paris, muse des Art décoratifs) ...........................................................................125 22. Jean-Marc Nattier, Le Comte Maurice de Saxe, 1720 vi (Dresde, Staatliche Kunstsammlungeon, Gemäldegalerie Alte Meister) ............125 23. Jean-George Vibert, In the Image of the Emoperor, late 19th century (unknow) ..............................................................................................................126 24. Joshua Reynolds, Mrs. Siddons as the Tragic Muse, 1784 (unknown) ............................................................................................................126 25. Jean-Marc Nattier, Portrait présumé de Marie-Anne Comasse, 1755 (German, Private Collection) ...............................................................................127 26. Jean-Marc Nattier, Madame Dupleix de Bacquencourt, née Jeanne-Henriette de Lalleu, 1735 (Private Collection) ..............................................................................................127 27. Jean-Marc Nattier, madame de Maison-Rouge sous la figure de Vénus attelant des colombes à son char, 1757 (Los Angeles, Lynda and Steward Resnick collection) .......................................128 28. Jean-Marc Nattier, Jean-Baptiste Le Gobien, seigneur de Saint-Jouan, 1724 (Canada, Private Collection) ................................................................................128 29. Jean-Marc Nattier, Alexandre Borisovitch Kourakine, 1728 (Saint Petersburg, musée de
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