Painted in the mid-18th century, Mademoiselle de Clermont en Sultane is a striking portrait by Jean-Marc Nattier, the great master of Rococo portraiture. The painting shows Louise-Anne de Bourbon, known as Mademoiselle de Clermont, dressed in a lavish and orientalized Ottoman-inspired costume. The painting is an example of the 18th-century European fascination with the Orient, known as Turquerie, which was the vogue among French aristocratic circles. Nattier’s ability to integrate grace, elegance, and fantasy in his portraits earned him the favor of being a much-patronized artist at Louis XV’s court.
About the Painter:
Jean-Marc Nattier (1685–1766) was a French artist whose portraits of aristocrats were renowned for their delicacy and refinement. Both by classical and Rococo taste, he painted especially noblewomen in allegorical or historical figures with gentle colors and gentle strokes. Not only were his portraits flattering, but they also captured the lightness and ornamental sensibility of the 18th century. While his career was devastated by the fall of the monarchy, Nattier’s works remain famous as key instances of French Rococo portraiture.
Inspiration and Reasons Behind the Painting:
Mademoiselle de Clermont en Sultane was an example of Turquerie style, which moved France in the 18th century as one aspect of overall fascination with the Ottoman Empire. Turkish-style dressing was adopted for masquerade or portrait occasions by aristocratic women, taking pleasure in fantasizing about being exotic while otherwise maintaining their place in society. The picture was quite likely intended to show Mademoiselle de Clermont in a seductive but refined manner, combining the opulence of French court culture with the exotica of the East. Nattier’s superb depiction of rich texture and delicate detail elevates the sitter to a near stage presence, furthering her status and charm.
What is Depicted in the Painting:
Mademoiselle de Clermont appears dressed in rich, Turkish-type clothing composed of sumptuous tapestries, opulent embroidery, and exotic accessories in the painting. She is draped elegantly and radiates a sense of assurance and calm. She has on her head a turban, the iconic piece of Turquerie fashion, which also helps reinforce the theme of orientalism. She is also bearing a long staff or sceptre, reinforcing once again the sense of aristocratic power, as she gazes with direct, inviting eyes. Background is rendered softly, with wrapped cloth and subdued play of light that helps to increase the dreamlike nature of the composition.
Colors and Techniques:
Nattier’s coloring is restrained and harmonious, with pale pastel hues dominating the palette. Blues, gold, and cream lend an air of luxury and elegance, and the fall of light and shade models the drapery of the fabric with depth and dimension. His brushwork is meticulous yet fluid, noting intricate detail in the fabrics and the sitter’s luminous complexion. The gentle sfumato in her face and hands contributes to the softness of the portrait, which is a typical feature of Nattier’s work. The overall effect is one of elegance, idealization, and aristocratic sophistication.
Conclusion:
Mademoiselle de Clermont en Sultane is a testament to Jean-Marc Nattier’s skill as a portrait painter and to 18th-century fascination with the exotic. In its mixture of fantasy, refinement, and aristocratic splendor, the painting encapsulates the fanciful but luxurious spirit of the French Rococo period. It remains a classic image of how portraiture was used not only to immortalize the sitter but to reflect the cultural tastes and aspirations of the nobility.