Acquista una riproduzione di Lady in Turkish Dress Holding a Fan - Rococo, Turkish Period

In the catalogues of the Stanisław August collection and 19th-century sources the painting is referred to as a portrait of Lady Montagu, wife of the British ambassador to the Ottoman Empire, by an anonymous painter. Klára Garas was the first to suggest the authorship of Liotard. The likeness, which due to the format should be defined a miniature, repeats, together with the dimensions, a lost drawing by Liotard, probably made in the artist’s Turkish period, therefore between 1738 and1742, and known from a contre-épreuve in the Louvre.The only difference is the lack of a floral pattern on the coat. According to Roethlisberger and Loche, the Łazienki Lady in Turkish Dress Holding a Fan isthe same work as the miniature exhibited by Liotard, together with the paintings from his collection (he was not only an artist, but an avid collector and art dealer) in 1771 in Paris. The miniature was not sold at that time; two years later, in 1773, Liotard exhibited it in London. The possible buyer of the miniature remains unknown. It cameinto the collection of Stanisław August much later, certainly after 1783: it was first listed in the so-called ‘iconographic’ catalogue of the king’s collection drawn up between 1784 and 1792.It is not a portrait, as was previously assumed, of Lady Mary WortleyMontagu (1689–1762), the wife of Edward Wortley Montagu, ambassador of Britain to the Ottoman Empire, who lived in Turkey in the years 1717–18 (thus 20 years before Liotard’s presence there ), but a genre painting. Liotard painted five such representations with Turkish themes [See D. Juszczak, H. Małachowicz, The Stanisław August Collection of Paintings at the Royal Łazienki. Catalogue, Royal Łazienki Museum, Warsaw 2016, no. 62, pp. 242–244.]

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Biografia dell'artista

Jean-Étienne Liotard (1702–1789): A Genevan Master of Pastel Elegance

Jean-Étienne Liotard, born December 22nd, 1702, in Geneva, Switzerland, stands as a pivotal figure within the artistic landscape of the Enlightenment. His formative years were steeped in the traditions of Genevan art, nurtured under the tutelage of esteemed professors Daniel Gardelle and Petitot, who instilled in him a profound understanding of enamels and miniatures – skills he would expertly replicate throughout his illustrious career. This early training undeniably shaped Liotard’s aesthetic sensibilities, prioritizing meticulous detail and refined technique.

A Journey Through European Artistic Circles

Liotard embarked upon an ambitious intellectual and artistic odyssey that propelled him across Europe's major capitals: Paris, Rome, Constantinople (Istanbul), and Vienna. These travels weren’t merely geographical explorations; they constituted a crucible for his creative development. In Paris, he honed his craft under the mentorship of Jean-Baptiste Massé and François Lemoyne, absorbing the stylistic currents of Rococo – an influence that would permeate many of his later works. Notably, his time in Constantinople between 1738 and 1742 profoundly impacted his artistic vision, evidenced by his captivating pastel depictions of Turkish domestic life—scenes brimming with vibrant color and nuanced observation.

The Pastel Virtuoso: Capturing Light and Emotion

Liotard’s enduring legacy rests primarily upon his unparalleled mastery of pastel – a medium he elevated to new heights of expressive potential. His oeuvre showcases an astonishing versatility, ranging from monumental portraits commanding attention to delicate landscapes imbued with atmospheric subtlety. Consider *Dutch Girl at Breakfast* (circa 1756), a masterful example of Rococo grandeur executed in oil on canvas; it exemplifies Liotard’s ability to convey both formal elegance and psychological depth. Similarly, *La Liseuse*, depicting a young woman engrossed in reading, and *La Belle Lyonnaise* exemplify his remarkable talent for capturing fleeting moments of beauty with pastel’s luminous qualities—works housed within the Dresden Gallery. Furthermore, *Maria Frederike van Reede-Athlone at Seven*, presented by the Getty Museum, stands as a testament to Liotard's unwavering commitment to naturalistic portraiture, meticulously rendered with painstaking accuracy and imbued with palpable emotion.

Beyond Technique: Philosophical Reflections

Liotard’s artistic pursuits extended beyond mere visual representation; he was also a thoughtful scholar and humanist. His magnum opus, *Traité des principes et des règles de la peinture* (1781), represents a seminal contribution to art theory—a comprehensive treatise that interrogated fundamental questions concerning aesthetics and artistic creation. This intellectual endeavor underscores Liotard’s belief in the transformative power of art as a vehicle for conveying profound ideas and fostering contemplation. He continued to produce evocative landscapes and still lifes until his peaceful passing on June 12th, 1789, in Geneva—leaving behind an indelible mark upon Genevan artistic heritage.

Notable Museums Exhibiting Liotard’s Art

Liotard's artworks are proudly displayed in several prestigious institutions: The Museum Private Collection (Geneva), Switzerland; Musée d’Art et d’Histoire (Geneva), Switzerland; and The Getty Museum, Los Angeles. Visiting these museums offers an invaluable opportunity to immerse oneself in the splendor of Liotard’s artistic legacy—a testament to his enduring influence on European art history.

Jean-Étienne Liotard

1702 - 1789 , Svizzera

Informazioni rapide

Artistic Movement Or Style: Pastoralismo
Artists Or Movements Influenced By This Artist:
- Jean Baptiste Massé
- François Lemoyne
Artists Who Influenced This Artist:
- Daniel Gardelle
- Petitot
Date Of Birth: Dicembre 22, 1702
Date Of Death: Giugno 12, 1789
Full Name: Jean-Étienne Liotard
Nationality: Svizzero
Notable Artworks:
- Dutch Girl at Breakfast
- La Liseuse, Il cioccolatiniere
- Maria Frederike van Reede-Athlone a sette
Place Of Birth: Geneva, Svizzera

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Jean-Étienne Liotard: Tutta la collezione

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