All NATTIER, Jean-Marc's oil paintings
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| ID |
Image |
Oil Pantings, Sorted from A to Z |
Other Information |
| 8342 |
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Comtesse de Tillieres sg |
1750
Oil on canvas, 80 x 63 cm
Wallace Collection, London |
| 8341 |
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Comtesse Tessin age |
1741
Oil on canvas, 81 x 65 cm
Mus??e du Louvre, Paris |
| 8337 |
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Madame Marsollier and her Daughter sg |
1749
Oil on canvas
Metropolitan Museum of Art, New York |
| 8338 |
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Madame Victoire ag |
1748
Oil on canvas, 64 x 81 cm
Mus??e de Versailles, Versailles |
| 8340 |
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Mademoiselle de Clermont en Sultane sg |
1733
Oil on canvas, 109 x 105 cm
Wallace Collection, London |
| 8336 |
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Marie Adelaide of France as Diana sg |
1745
Oil on canvas, 95 x 128 cm
Galleria degli Uffizi, Florence |
| 8335 |
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Marie Adelaide of France as Flora ag |
1742
Oil on canvas, 94,5 x 128,5 cm
Galleria degli Uffizi, Florence |
| 44053 |
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Marie Leczinska |
1748
Oil on canvas |
| 8339 |
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Portrait of a Young Woman Painter sg |
Oil on canvas
La Cour d'Or, Mus??es de Metz, Metz |
| 8343 |
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Portrait of Madame Maria Zeffirina sg |
1751
Oil on canvas, 70 x 82 cm
Galleria degli Uffizi, Florence |
| 49071 |
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Portrait of Peter the Great |
mk193
1717
Oil on canvas
142.5x110cm
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| 67213 |
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princesse de Masseran |
Description Charlotte Louise de Rohan (1722-1786), princesse de Masseran.jpg
English: Painting of Charlotte Louise de Rohan, daughter of Hercule M??riadec de Rohan, Prince of Gu??m??n?? and Louise Gabrielle Julie de Rohan, by Nattier
Date 1738
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| NATTIER, Jean-Marc
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| French Rococo Era Painter, 1685-1766
Brother of Jean-Baptiste Nattier. As well as being taught by his father, he trained with his godfather, Jean Jouvenet, and attended the drawing classes of the Acad?mie Royale, where in 1700 he won the Premier Prix de Dessin. From around 1703 he worked on La Galerie du Palais du Luxembourg. The experience of copying the work of Rubens does not, however, seem to have had a liberating effect on his draughtsmanship, which was described by the 18th-century collector Pierre-Jean Mariette as 'cold'. Nattier was commissioned to make further drawings for engravers in the early part of his career, including those after Hyacinthe Rigaud's famous state portrait of Louis XIV (1701; Paris, Louvre) in 1710, which indicates that he had established a reputation while he was still quite young. Although he was offered a place at the Acad?mie de France in Rome on the recommendation of Jouvenet, Nattier preferred to remain in Paris and further his career. In 1717 he nevertheless made a trip to Holland, where he painted portraits of Peter the Great and the Empress Catherine (St Petersburg, Hermitage).
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