Portrait of a Young Nobleman in Hunting Dress

The subject of another 18th century portrait in the collection, this one anonymous, appears not in martial armour, but rather in velvet and silk, devoted to luxurious country living and his passion for the hunt: It was probably about 15 years after the death of the Sun King, around 1730, that Nicolas de Largillierre (1656-1746) painted the "Portrait of a Young Nobleman in Hunting Dress".

In a blossom-white blouse and a blue coat with rich silver embroidery, the aristocrat leans back, relaxed beneath the trees, his dog and slain game beside him. With his left hand, he indicates something beyond the painting. Most likely, this gesture refers to another painting, a counterpart to this portrait, which represented the nobleman's spouse. More than that of his friend Rigaud, Largilliere's art demonstrates the transition into a new epoch. He was born the son of a hat-maker on the Notre-Dame Bridge and then emigrated to Antwerp with his parents. There, he was able to study the work of van Dyck and Rubens, and in 1672, he was accepted into the Guild of St. Luke, He later travelled to England and joined the studio of the Flemish Peter van der Faes (called Lely), who sealed Largillierre's interest in the art of portrait painting, which eventually became the foundation of his spectacular career.

Having returned to Paris in 1682, he gained commissions not only from aristocratic clients, but also from the solvent bourgeoisie. They admired Largilliere's highly refined technique, his sensibility for the luscious beauty of the finest materials and patterns, and his ability to place the portrait's subject in a flattering and atmospherically expressive light. In brief, he was valued for the brilliance of his art and the nobility of his taste.

In the nobleman's portrait, the courtly pose and stylisation, which at times exude a stiffness and unapproachable command for respect, gives way to an easy-going form of self-presentation, whose voluptuous celebration of painting playfully anticipates rococo style. It was not only with all of the above-mentioned qualities, but also by recognising the talent of Chardin early on, that Largillierre earned his pioneering position in French painting.