Portrait of Marshal Charles-Auguste de Matignon

Hyacinthe Rigaud (1659 -1743) was the Sun King's court painter and, consequently, the primary chronicler of his era. In 1700, he became professor at the academy. His study of Dou and van Dyck won Rigaud a certain finesse and grandezza, which is apparent in his highly distinguished and accomplished "Self-Portrait" (C. 1692). His work is further represented in the collection by his "Portrait of Marshal Charles-Auguste de Matignon" (C. 1708). With his first painting for the king, which was a full-body portrait of the monarch from 1694 (today in the Prado in Madrid), Rigaud realized the "ideal which was inherent in this late baroque period of dukes and warlords". The "proudly taut posture, and the pathos of movement and gesture are marks of one accustomed to victory, aware of his own power and of the honor of his monarchy, endowed with the grace of God and heeded by all Europe.

Works of this type were commissioned by Rigaud's clients again and again. Charles Auguste de Goüyon Matignon, Comte de Gacé, Baron de Bricquebec, Blosseville, La Houlette et Orglandes also had Rigaud paint his portrait in the pose of an experienced and sovereign commander. In fact, Matignon had indeed participated in Louis XIV's battles in Westphalia, the Alsace, the Netherlands and Ireland.

In 1708, the Comte was pronounced one of 20 Marshals of France. The knee-length portrait shows Matignon shortly before this promotion at the zenith of his career. Soon thereafter, his military endeavours became rather unsuccessful. Matignon holds the Marshal's baton, wrapped in blue velvet and decorated with golden lilies. He wears a wide, white sash, which blows dramatically in the wind and which also belongs to the insignia of his rank. His clothing, however, certainly does not reflect readiness to join the battle in the painting's background, which he is indicating with a grand gesture. Rather, his lace-collared blouse and long, artfully arranged wig are at once noble and somewhat anachronistic. For, the armour decorated with brass fittings, under which his coat of mail is visible, was no longer worn in battle at the time, since it could not protect against the newly developed fire arms.

The nocturnal scene may illustrate an historical event. In the night from May and to 3rd, 1705, Matignon had conquered two forts in the Flemish city of Star. According to legend, he himself infiltrated the fortress, sword in hand, and demanded that the commander and 1400 soldiers surrender. In the portrait, however, he appears as anything but a fearful man-at-arms or an old warhorse. Rather, he is portrayed as an idealised sophisticated aristocrat, in keeping with prevailing taste and pride of rank.