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Duchess of Parma
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Duchess_of_Parma
1760(1760)
Medium Oil on canvas
Dimensions 136 x 104 cm (53.5 x 40.9 in)
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previously known as Portrait of a Lady
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previously_known_as_Portrait_of_a_Lady
1757(1757)
Medium Oil on canvas
Dimensions 57 x 45 cm (22.4 x 17.7 in)
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Portrait of Anne Henriette of France
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Portrait_of_Anne_Henriette_of_France
1742(1742)
Medium Oil on canvas
Dimensions 96 x 151 cm (37.8 x 59.4 in)
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Duchesse de Chartres
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Duchesse_de_Chartres
1744(1744)
Medium Oil on canvas
Dimensions 131 x 105 cm (51.6 x 41.3 in)
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Dauphine de France
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Dauphine_de_France
1751(1751)
Medium Oil on canvas
Dimensions 105 x 120 cm (41.3 x 47.2 in)
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Jean_Marc_Nattier
1685-1766
French
Jean Marc Nattier Gallery
Brother of Jean-Baptiste Nattier. As well as being taught by his father, he trained with his godfather, Jean Jouvenet, and attended the drawing classes of the Academie Royale, where in 1700 he won the Premier Prix de Dessin. From around 1703 he worked on La Galerie du Palais du Luxembourg. The experience of copying the work of Rubens does not, however, seem to have had a liberating effect on his draughtsmanship, which was described by the 18th-century collector Pierre-Jean Mariette as cold. Nattier was commissioned to make further drawings for engravers in the early part of his career, including those after Hyacinthe Rigaud famous state portrait of Louis XIV (1701; Paris, Louvre) in 1710, which indicates that he had established a reputation while he was still quite young. Although he was offered a place at the Academie de France in Rome on the recommendation of Jouvenet, Nattier preferred to remain in Paris and further his career. In 1717 he nevertheless made a trip to Holland, where he painted portraits of Peter the Great and the Empress Catherine (St Petersburg, Hermitage). The Tsar offered Nattier work at the Russian court, but the artist declined the offer. He remained in Paris for the rest of his life.
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