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18th Century Portrait Miniature Attributed to Jean Etienne Liotard (1702 -1789)

$164,450.48

£120,000

€139,999.49

CA$225,256.05

A$250,533.89

CHF 130,821.02

MX$3,048,731.04

NOK 1,670,784

SEK 1,566,900.63

DKK 1,044,869.85

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About the Item

18th Century Portrait Miniature Attributed to Jean Etienne Liotard (1702 -1789) , Portrait of a young man, bust length, with powdered hair and wearing a blue velvet coat embroidered with gold facings. Enamel size 4.5 x 4 cm. In a gold frame with glass face. Jean-Étienne Liotard (or Giovanni Stefano Liotard) (22 December 1702 – 12 June 1789) was a Genevan painter, pastellist, printmaker, art theorist and art dealer. Born in the Republic of Geneva as the son of exiled French Huguenots, he spent most of his career working in cities such as Rome, Istanbul, Paris, Vienna, London, Amsterdam and other cities. He is best known for his detailed, strikingly naturalistic portraits in pastel and Orientalist scenes of life in Turkey. As an art theorist he wrote the Traité des Principes et règles de la Peinture (Treatise on the Principles and Rules of Painting) in which he argued that painting should to be a mirror of nature. Liotard was born in Geneva as the son of Antoine, a merchant and citizen of Geneva, and Anne Sauvage. His parents were French Protestants who had fled to Geneva after 1685. He had a twin borther called Jean-Michel (1702-1796) who became a draughtsman and engraver. Jean-Étienne Liotard began his art studies in Geneva under miniature painter Daniel Gardelle in whose workshop he studied enamel and miniature painting. He produced several portraits showing his talent. He only studied with Gardelle for about four months and left in 1725 for Paris where he joined the workshop of the miniaturist Jean-Baptiste Massé. He remained there for three years during which he made many copies as his relationship with Massé not that of an apprenticeship but rather of a job placement (allouage). Around 1728 he set up his own workshop. In 1732 he submitted a painting for the painting prize competition organised by the Académie royale de peinture et de sculpture ("Royal Academy of Painting and Sculpture") on the mandatory subject that year of The high priest Achimelech hands David the sword of Goliath. His submission did not win any price. Around this time he painted more enamels than pastels. He produced some portrait prints of Voltaire and Fontenelle which he advertised in local media. In 1735 he travelled with Louis Philogène Brûlart, the French ambassador to Naples and Rome. In Rome he painted the portraits of Pope Clement XII and several cardinals. He also 1737, he made lost pastels of the exiled James Francis Edward Stuart, the House of Stuart claimant to the thrones of England, Ireland and Scotland, and his sons. In 1738 he accompanied Lord Duncannon to Constantinople, where he worked for the next four years. Liotard visited Istanbul and painted numerous pastels of Turkish domestic scenes. Using modern dress was considered unheroic and inelegant in history painting using Middle Eastern settings, with Europeans wearing local costume, as travellers were advised to do. He continued to wear Turkish dress a long time after returning to Europe. This adoption of oriental costume secured him the nickname of "the Turkish painter". Many travellers had themselves painted by Liotard in exotic Eastern dress on their return, including Lord Byron, as did many who had never left Europe, including Madame de Pompadour. Byron's poetry was highly influential in introducing Europe to the heady cocktail of Romanticism in exotic Oriental settings which was later to dominate 19th century Oriental art. He went to Vienna in 1742 to paint the portraits of the Imperial family.[10] In 1745 his genre portrait The Chocolate Girl was acquired by the Venice-based art dealer Francesco Algarotti for the Dresden pastel cabinet. Still under distinguished patronage he returned to Paris. In 1753 he visited England, where he painted Princess Augusta of Saxe-Gotha, the Princess of Wales. He travelled to the Dutch Republic in 1756, where, in the following year, he married Marie Fargues. She also came from a Huguenot family, and wanted him to shave off his beard. In 1762 he painted portraits in Vienna, including Marie Antoinette; in 1770 in Paris. Another visit to England followed in 1772, and in the next two years his name figures among the Royal Academy exhibitors. He was an expert collector of paintings by the old masters. Many of the masterpieces he had acquired were sold by him at high prices on his second visit to England. He returned to his native town in 1776. In 1781 Liotard published his Traité des principes et des règles de la peinture. In final part of his career he painted still lifes and landscapes. He died in Geneva in 1789.

Dimensions:
Height: 2.37 in (6 cm)Width: 1.78 in (4.5 cm)Depth: 0.16 in (4 mm)
Style:
Rococo (Of the Period)
Materials and Techniques:
Copper,Enamel,Glass,Gold,Hand-Painted
Place of Origin:
Europe
Period:
1740-1749
Date of Manufacture:
circa 1740
Condition:
Wear consistent with age and use.
Seller Location:
Basildon, GB
Reference Number:
Seller: 40601stDibs: LU8971246011392

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