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Presumed Portrait of Madame Geoffrin

Marianne Loirca. 1750s - ca. 1760s

National Museum of Women in the Arts

National Museum of Women in the Arts
Washington, D.C., United States

Marie Thérèse Rodet Geoffrin (1699–1777) was famous in Parisian society for holding weekly salons where notable artists, writers, and politicians gathered.

She welcomed luminaries such as architect Jacques-Germain Soufflot and painter François Boucher to her Monday artistic salon. The guest lists for her Wednesday literary salons included accomplished men of the French Enlightenment, such as Voltaire, Diderot, and Montesquieu. The ease of Madame Geoffrin's posture, the graceful gesture of her free hand, and her direct gaze suggest the confidence she felt socializing with the greatest minds of 18th-century France.

To further emphasize Geoffrin’s importance, painter Marianne Loir conveyed in detail the sumptuousness of the lady's costume. Loir carefully depicted the complicated pattern in Geoffrin's satin dress, the pearls decorating her hair, and fur-trimmed red cloak. Even richer, more painterly passages are visible in the folds of the cloak falling over the sitter's shoulders and hips. Especially impressive is Loir’s treatment of Geoffrin’s delicate striped veil.

What sets this portrait apart from other contemporary examples is Loir’s decision not to idealize her subject. Although Geoffrin is an attractive and thoughtful woman, the soft flesh under her chin hints at the onset of middle age, a detail most fashionable male and female portraitists might have omitted.

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  • Title: Presumed Portrait of Madame Geoffrin
  • Creator: Marianne Loir
  • Creator Lifespan: Active ca. 1737 - ca. 1779
  • Creator Gender: Female
  • Creator Death Place: Unknown
  • Creator Birth Place: Paris, France
  • Date: ca. 1750s - ca. 1760s
  • selected exhibition history: Le Salon, Académie Royale de Peinture et Sculpture, Paris, 1748
  • artist profile: Marianne Loir was an extremely skillful painter of wealthy and generally aristocratic clients, which is evident in the 10 dated portraits that have been securely attributed to her. Loir’s family provided her with an impressive artistic pedigree. The Loirs had been active Parisian silversmiths since the 17th century; moreover, her brother was a highly regarded pastellist and sculptor, also specializing in portraiture. Little is known about Loir’s life. She was trained by a distinguished French academic painter, Jean-François de Troy, and may have spent some time in Rome. That sojourn seems especially likely between the mid-1730s and 1740s, when there is no record of any artistic activity by her in Paris and when her teacher served as director of the Académie de France in Rome. Scholars believe that Loir may also have lived for a time in the south of France. This theory is based on records of portraits she painted during the 1720s for patrons in Pau and her election to the Academy of Marseilles in 1762.
  • Style: Rococo
  • Physical Dimensions: w32.25 x h39.5 in (Without frame)
  • Type: Painting
  • Rights: Gift of Wallace and Wilhelmina Holladay; Photography by Lee Stalsworth
  • External Link: National Museum of Women in the Arts
  • Medium: Oil on canvas
National Museum of Women in the Arts

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