Jean-Marc Nattier
French·1685–1766
Rococo portraitist Jean-Marc Nattier (1685-1766) became the favorite painter of the French court, creating allegorical portraits that depicted aristocratic sitters as classical goddesses. Born into an artistic Parisian family, he showed remarkable talent early, winning first prize at the Paris Academy at age 15. His specialty became the "portrait historié," showing ladies of the court as Diana, Hebe, or other mythological figures. These elegant works combined sumptuous fabrics, pastel colors, and idealized beauty while maintaining recognizable likenesses.
Nattier trained under his father Marc Nattier and uncle Jean Jouvenet. In 1715, he painted portraits of Peter the Great and Catherine of Russia but declined their invitation to work at the Russian court. From 1745, he served as official portraitist to Louis XV's four daughters, creating some of his most celebrated works. His portraits of Madame Adélaïde, Madame Victoire, and other princesses exemplify the grace and refinement of French Rococo style. The financial collapse of 1720 nearly ruined him, and his later years brought declining fortunes. His work now hangs at the Louvre, the Metropolitan Museum of Art, the National Gallery of Art, and the Wallace Collection in London.
Notable Works by Jean-Marc Nattier
4 paintings catalogued with museum locations
Museums with Jean-Marc Nattier's Work
3 museums display Nattier's works. Click any museum to see visiting info and the specific works they hold.
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About Jean-Marc Nattier
His portraits of Louis XV's daughters, including Madame Adélaïde, Madame Victoire, and Madame Henriette as mythological figures like Diana and Hebe, are his most celebrated works. These paintings transformed royal princesses into idealized goddesses draped in sumptuous fabrics.
His work hangs at the Louvre, the Metropolitan Museum of Art, and the Wallace Collection in London. The Palace of Versailles preserves portraits of the royal family in their original setting.
He specialized in the "portrait historié," depicting aristocratic sitters as classical goddesses like Diana the huntress or Hebe the cupbearer. This convention allowed ladies to be shown in classical undress while maintaining propriety, combining flattery with colorful theatrical display.
Yes, Nattier painted Peter the Great and Catherine of Russia during their 1715 visit to Paris, but he declined their invitation to work at the Russian court. He preferred to remain in France, where his success at Versailles was already assured.
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