1685 -1766 · Paris, Royal Academy, court of Versailles and Saint Petersburg

Court portraits, mythological attributes and luminous fabrics define the refined elegance of Jean-Marc Nattier.

Jean-Marc Nattier was born in Paris in 1685 into a family of artists. His father Marc Nattier was a portrait painter and his mother Marie Courtois a miniaturist. Very early on, he drew based on Rubens' paintings from the Luxembourg gallery, whose prints contributed to his reputation. Received at the Royal Academy in 1718 as a history painter, he stayed in Amsterdam then worked for Peter the Great and his entourage. Received at the Royal Academy in 1718 as a history painter, he stayed in Amsterdam then worked for Peter the Great and his entourage. Received at the Royal Academy in 1718 as a history painter, he stayed in Amsterdam then worked for Peter the Great and his entourage. A financial loss, however, pushed him towards portraiture, a field where he became one of the most sought-after painters in Paris. However, a financial loss pushed him towards portraiture, a field where he became one of the most sought-after painters in Paris. However, his invention led him towards portraiture, a field where he became one of the most sought-after painters in Paris. However, his invention pushed him towards portraiture, a field where he became one of the most sought-after the bow and draperies elevate the model without erasing its identity. Madame Henriette en Flore thus combines dynastic presence and floral freshness, while the Duchess of Chaulnes represented in Hébé transforms the nectar service into an image of eternal youth. Nattier paints the daughters of Louis XV and a European aristocratic clientele. Pearly skin tones, silvery blues and the variety of fabrics give his portraits a very constructed softness. The pearly skin tones, the silvery blues and the variety of fabrics give his portraits a very constructed softness. The more sober masculine faces preserve books, armor or badges as signs of office. After the middle of the century, taste changed and orders diminished. Nattier died in Paris in 1766. His work remains one major testimony to the way in which the Ancien Régime court presented rank, beauty and identity through the language of mythology. The "Jean-Marc Nattier" selection notably compares Madame Henriette en Flore and The Duchess of Chaulnes en Hébé. His reading favors details.

Nattier transforms the portrait into a controlled metamorphosis: the face remains faithful, while flowers, draperies and attributes bring the model into mythology.