User:Mcapplis7/sandbox
| Artist | François Boucher |
|---|---|
| Year | 1750 |
| Medium | oil on canvas |
| Dimensions | 81 cm × 65 cm (32 in × 26 in) |
| Location | Harvard Art Museums, Cambridge, MA |
Context
[edit]Pompadour at Her Toilette is an oil-on-canvas painting by François Boucher from 1750 (with later additions) depicting Madame de Pompadour, the mistress of King Louis XV of France. While Madame de Pompadour appears young and attractive, it was created as a nod to her past beauty.[1] In reality, when Boucher composed the painting in 1750, Madame de Pompadour was 37 years old and suffered from migraines, fevers, seizures, and other ailments.[1] Her body became thin and bony due to weight loss, and her complexion became jaundiced and wrinkled.[1] Thus, the portrait, which shows her healthy figure and smooth white skin, reminisces about her past beauty and youth that won her the position of being the king's favorite mistress.[1]
The format of the painting changed several times after its initial creation. It was originally a small, rectangular bust, closely cropped around Pompadour's face.[2]: 108 Boucher later enlarged the canvas with several rectangular strips, adding in the surrounding toilette scene.[2]: 108 Sometime in the late eighteenth century, the painting was again adjusted to give it an oval format.[3] The expanded composition is significant for its representation of Pompadour in the act of applying her rouge makeup.[4]: 74 Further, the addition of rouge makeup connects to popular trends of pink skin at the time.[4]: 75 Art historians have interpreted the depiction of makeup in the scene along with the many additions and changes to the composition as an exploration of Pompadour's agency in fashioning her own image.[2][5]
Description of the Painting
Boucher's use of delicate brushstrokes, pastel colors, frivolous and sensual portrait of Madame de Pompadour reflects the characteristics of the Rococo movement.[2]: 117 The painting itself evokes Rococo elements due to the subject matter since Madame de Pompadour is seen enhancing her appearance though makeup.[2] Madame de Pompadour uses cosmetics to fit into societal female beauty standards in the same way Boucher applies paint to canvas to fit into the Rococo style. Pale pink and white dominate Boucher's palette in this painting, which aligns with the most popular "seductive" cosmetic colors at the time.[6]: 457 Though his use of pale pink and white, Boucher is able to draw an analogy between oil paint and cosmetic makeup and equate the art of painting to the act of the toilette.[6]: 457–458 Blue is the only other color that contrasts the pink and white setting seen though the flowers in Madame de Pompadour's hair and the ribbons by the mirror.[7]: 74 Blue is one of Madame de Pompadour's chromatic signatures, further connecting her identity to the identity of Boucher.[7]: 74 The light and feathery brushstrokes Boucher uses create an illusion of applying powder to the face, the act Madame de Pompadour is about to preform, further connecting the artist with the patron.[7]: 75
Relationship between Pompadour and Boucher
[edit]Madame de Pompadour had a longstanding artistic relationship with Boucher, often commissioning him to paint her portraits. In particular, Pompadour at Her Toilette can be seen as a collaborative work between Madame de Pompadour and Boucher.[8] As an artist in the eighteenth century, Boucher was a prominent figure in the Rococo movement.[8] However, he possessed a unique color palette that garnered both admiration and criticism.[2] Evident in her numerous commissions by Boucher, Madame de Pompadour seemingly appreciated his artistic style.
Boucher's unique touch on canvas is seen though his pink and pastel colors along with his feathery brushstrokes which work together to represent his distinctive artistic style as a Rococo artist.[8] Similarly, Madame de Pompadour utilized Boucher's technique to convey her own self-image. While Boucher executed the painting, Madame de Pompadour guided the vision and dictated her own representation as an important and wealthy woman.[8] This collaboration rendered the painting a reflection of both the artist and the patron.[8][9]
The painting Pompadour at Her Toilette is unique in its two-fold approach to self-representation in art-making.[2] The portrayal of Madame de Pompadour applying makeup draws parallels to Boucher's application of oil paint on the canvas, blurring the lines between the roles of artist and subject.[2] The autonomy displayed by Madame de Pompadour suggests that she may have been the true executor of the image, rather than merely its subject.[2]
Making up Her Image
[edit]_Round_(1.5_Inch)_Solid_Perfume_Compact,_Chantilly_by_Houbigant_2)_Square_(1.5_Inch)_Rouge_Compact_by_Elizabeth_Arden_(9305499229).jpg)
On one hand, Madame de Pompadour holds a small rectangular tin of rouge, and in the other, she wields a cosmetic brush freshly dipped in the color, poised to apply it to her skin.[2][4] In the eighteenth century, rouge makeup served as a stark contrast to pale skin, enhancing its whiteness, which was considered a standard of beauty.[4] Historically, rouge also symbolized higher social status and courtly elegance.[2]
The court was abuzz with indignation following Madame de Pompadour's appointment to lady-in-waiting over the more respectable and saintly woman Marie Leszczyńska.[2]: 109 Madame de Pompadour's new role breeched court etiquette, as the role was typically reserved for ladies of the most ancient and noble lineage.[2]: 109 It was expected that, in her new role, Madame de Pompadour would give up her frivolous gowns and rouge makeup.[2]: 110 Instead, she appeared at court more lavishly adorned and made up than ever before.[2]: 110 Madame de Pompadour's decision to defy tradition and maintain her extravagant dress and makeup reflects her autonomy in defining her identity, irrespective of societal expectations.
Madame de Pompadour utilized makeup to assert her wealth and elevated status at court, disregarding those who deemed her unworthy. While Madame de Pompadour occupied an important social position, her bold display of French-made rouge can be interpreted as an embrace of French market products during this period and a demonstration of her fashionable tastes.[4] Furthermore, her aim was to forge a closer relationship between the emerging wealthy French aristocracy and the monarchy. Hence, the use of rouge makeup served as a visual marker of her wealth and social standing, allowing her, as a mistress, to project the image of a high-class courtly woman and symbolically enhance her image.[4]
- ^ a b c d Goodman-Soellner, Elise (1987). "Boucher's "Madame de Pompadour at Her Toilette"". Simiolus: Netherlands Quarterly for the History of Art. 17 (1): 41. doi:10.2307/3780687. ISSN 0037-5411.
- ^ a b c d e f g h i j k l m n o Hyde, Melissa Lee; Boucher, François (2006). Making up the rococo: François Boucher and his critics. Texts & documents. Los Angeles, CA: Getty Research Institute. ISBN 978-0-89236-743-6. OCLC 60644729.
- ^ Alden Rand Gordon and Teri Hensick, "The Picture Within the Picture: Boucher's 1750 'Portrait of Madame de Pompadour' Identified", Apollo (February 2002), pp. 21-30.
- ^ a b c d e f Albinson, A. Cassandra; Ledbury, Mark; Szalay, Gabriella; Wunsch, Oliver, eds. (2022). Madame de Pompadour: painted pink. Cambridge, Mass: Harvard Art Museums. ISBN 978-0-300-26381-7.
- ^ Lajer-Burcharth, Ewa (2001). "Pompadour's Touch: Difference in Representation". Representations. 73 (1): 54–88. doi:10.1525/rep.2001.73.1.54. ISSN 0734-6018.
- ^ a b Hyde, Melissa (2000). "The "Makeup" of the Marquise: Boucher's Portrait of Pompadour at Her Toilette". The Art Bulletin. 82 (3). doi:10.2307/3051397. ISSN 0004-3079.
- ^ a b c Lajer-Burcharth, Ewa (2001). "Pompadour's Touch: Difference in Representation". Representations. 73 (1): 75. doi:10.1525/rep.2001.73.1.54. ISSN 0734-6018.
- ^ a b c d e Hyde, Melissa (2000). "The "Makeup" of the Marquise: Boucher's Portrait of Pompadour at Her Toilette". The Art Bulletin. 82 (3): 453. doi:10.2307/3051397. ISSN 0004-3079.
- ^ Lajer-Burcharth, Ewa (2001). "Pompadour's Touch: Difference in Representation". Representations. 73 (1): 75. doi:10.1525/rep.2001.73.1.54. ISSN 0734-6018.