64) that he considered a copy after a possible study for the painting of Madame Bergeret. Photo: Thierry Le Mage, which has been connected to a large finished portrait (location unknown) commissioned in 1750. 12, 19, 22, 30, 40), but in only one case (no. Tiphaine RENAUD. “A l’égard du portrait de Madame Bergeret par Bou­cher, il n’en a été fait aucune prisée comme portrait de famille, pourquoy Mémoire” (Regarding the portrait of Madame Bergeret by Boucher, since it is a family portrait it is mentioned for posterity but not given any value). If this portrait was indeed commissioned in celebration of Bergeret de Grancourt’s second wedding, it was clearly a time when he still had eyes only for his wife. Alexandre Ananoff with Daniel Wildenstein, François Boucher (Lausanne and Paris, 1976), 2: no. 3]   [fig. There seems little reason to doubt the traditional identification of the sitter as Madame Bergeret. Export from an artist page includes image if available, biography, notes, and bibliography. to several portraits of the marquise de Pompadour. 522. Richard Rand, “François Boucher/Madame Bergeret/possibly 1766,” French Paintings of the Fifteenth through Eighteenth Centuries, NGA Online Editions, https://purl.org/nga/collection/artobject/32681 (accessed February 16, 2021). Given the lack of resemblance between Madame Bergeret and known portraits of the king’s mistress, this seems highly unlikely, and Laing no longer considers it a possibility (letter to the author, April 20, 1997). 865). [17]  [17]Alastair Laing, François Boucher (1703 – 1770) (New York, 1986), 232 – 233. [19]  [19]Alastair Laing, François Boucher (1703 – 1770) (New York, 1986), 232 – 233. 6, 58 [July – Aug. 1961], 46). [22]  [22]Careful inspection of the date shows that the “7” and the “4” are painted over old craquelure, whereas the “1” and the “6” are not, leaving open the possibility that a restorer misread an original inscription of “1766” as “1746” (see note 19). National Gallery of Art. generally has been thought to represent Marguerite Josèphe Richard, the first wife of Pierre Jacques Onésyme Bergeret (later called Bergeret de Grancourt) (1715 – 1785), one of François Boucher’s most enthusiastic patrons and the first recorded owner of the painting. An inventory of Bergeret de Grancourt’s possessions, drawn up at his death in 1785, included several portraits of Madame Bergeret by or after Boucher and other artists. [Lausanne and Paris, 1976]). [23]  [23]Alastair Laing, François Boucher (1703 – 1770) (New York, 1986), 233. Madame Grès överlevde krigsåren. Daniel Wildenstein, trans. It might have been produced around 1751, shortly before the first Madame Bergeret died at the age of thirty, an age not at all incompatible with the young woman in the portrait. With this hypothesis in mind, it is less surprising that Boucher would have adapted a pose used in his 1750 portrait of Madame de Pompadour — a composition for which, it should be noted, he needed to make two oil studies (see fig. Laing notes that it would have been doubly insulting to the marquise, since Madame Bergeret was the wife of a prominent financier, a class from which Pompadour had come but sought to distance herself. Siden 1743 har familien dyrket vindruer som de solgte. Georges Wildenstein, François Boucher (1703 – 1770): Portrait of Mme. 865). Grumier producerer kun Millésime champagne (årgangs vine) når det er et ekstraordinært år, som i 2006. Our family has grown grapes in the utmost respect of his land for many generations. 12, by an unnamed artist) is the sitter specifically identified as one of the three Bergeret wives (“première épouse dudit feu sieur Bergeret”). 59; Wine, in Madame de Pompadour et les arts (Paris, 2002), 144 – 145, no. He pointed out that the portrait was not listed in an inventory dated 1751, compiled on the death of the purported sitter,[8]  [8]For a description of this inventory, see Georges Wildenstein, “Un amateur de Boucher et de Fragonard: Jacques-Onésyme Bergeret, 1715 – 1785,” Gazette des Beaux-Arts ser. For recent synthetic accounts of Boucher’s portraits of Pompadour, see Elise Goodman, The Portraits of Madame de Pompadour: Celebrating the Femme Savante (Berkeley and London, 2000); Colin Jones, Madame de Pompadour: Images of a Mistress (London, 2002). Parfumuri pentru casă Maison Berger Paris si produse de infrumusetare la reduceri de pana la 70%. (Lausanne and Paris, 1976); for a full discussion, see Alastair Laing, François Boucher (1703 – 1770) (New York, 1986), no. The identification of the sitter in the National Gallery’s portrait as the second Madame Bergeret must remain speculative. 522. overall: 143.5 x 105.4 cm (56 1/2 x 41 1/2 in. 59; Wine, in Madame de Pompadour et les arts (Paris, 2002), 144 – 145, no. Probably it was so indicated in this case to avoid confusion with the third Madame Bergeret, in whose bedroom the portrait hung (Georges Wildenstein, “Un amateur de Boucher et de Fragonard: Jacques-Onésyme Bergeret, 1715 – 1785,” Gazette des Beaux-Arts ser. For similar costumes see Edward Maeder, ed., An Elegant Art: Fashion and Fantasy in the Eighteenth Century (New York, 1983), no. 45, pl. 6, 58 (July – Aug. 1961): 39 – 84; Eugène Darras, “La famille Bergeret de l’Isle-Adam et de Frouville (Seine-et-Oise),” Mémoires de la Société historique et archéologique de l’arrondissement de Pontoise et du Vexin, 1933, 79 – 81. She would have been approximately twenty-six at the time Boucher supposedly painted her. [5]  [5]“A l’égard du portrait de Madame Bergeret par Bou­cher, il n’en a été fait aucune prisée comme portrait de famille, pourquoy Mémoire” (Regarding the portrait of Madame Bergeret by Boucher, since it is a family portrait it is mentioned for posterity but not given any value). She bore two sons and two daughters who did not survive childhood, and she died in 1751 (see Georges Wildenstein, François Boucher (1703 – 1770): Portrait of Mme. Laing raised the possibility that the National Gallery’s portrait could represent the young marquise de Pompadour. MADAME MARIE GRUMIER . © 2014 Copyright CHAMPAGNE MAURICE GRUMIER, L'abus d'alcool est dangereux pour la santé. 6, 58 (July – Aug. 1961): 43. An examination summary dated November 16, 1990, in NGA conservation files, concludes that “the signature and the date are later additions; they have been painted over an old tear in the fabric support.” This report confirms an earlier analysis by Sarah Fisher (memo, April 22, 1987): “It could be seen under the microscope that paint strokes in the ‘7’ and the ‘4’ of the 1746 go over crackle, suggesting that they were painted after the crackle had formed, and therefore are not original.” 1) —  for his portrayal of Madame Bergeret rather than the other way around. ), framed: 172.4 x 134.3 cm (67 7/8 x 52 7/8 in. 45, pl. Alastair Laing, François Boucher (1703 – 1770) (New York, 1986), 233. 520; Alastair Laing, François Boucher (1703 – 1770) (New York, 1986), fig. 24 janvier 2021 0 0 See also Fragonard et le voyage en Italie 1773 – 1774: les Bergeret, une famille de mécènes (Paris, 2001), 14. Cessée à l'INSEE le 18-03-2013. adresse : 57 RUE DU CHATEAU. The inventory mentions five other portraits of Madame Bergeret by Boucher and other artists (nos. The inventory mentions five other portraits of Madame Bergeret by Boucher and other artists (nos. 4 rue alfred de musset - 24100 BERGERAC. You will find this site by visiting winemaker’s passion that drives us every day, always serve the excellence of our Champagnes. [20]  [20]See, for example, Shepherd and Shepherdess Reposing (The School of Love), 1761 (London, Wallace Collection; Alexandre Ananoff with Daniel Wildenstein, François Boucher [Lausanne and Paris, 1976], 2: no. As Laing first proposed, the prominent and exquisitely painted roses — symbols of love and popular in marriage portraits — suggest that the painting may have been commissioned on the occasion of the Bergerets’ wedding in 1766. Another version of the sketch, also by Boucher (Waddesdon Manor, England, Rothschild Collection), depicts Pompadour, like Madame Bergeret, holding a straw hat in her right hand. Dr Blandine HECQUET. It seems more than plausible that the current date visible on the portrait, 1746, was based on a misreading of a damaged authentic date of 1766 than one of 1750 or 1751. The identification and dating of the National Gallery of Art’s portrait was accepted until 1986, when Alastair Laing raised doubts. Her powdered hair, neatly pulled back, is adorned with more flowers; a delicate lace ruff highlights her neck, and her sole piece of jewelry is a pearl bracelet with a cameo portrait. Olsen & Co, Oslo - BERGERAC 1972 - Overført til Den norske Middelhavslinje A/S v/Fred. 6, 58 (July – Aug. 1961): 43. He speculated that one of its owners, Barbe Françoise Victoire Poisson de la Chabeaussière Cotillon de Torcy, may have been related to Pompadour’s descendant, the Poisson de Malvoisin. 22, recorded hanging in a small gallery just off the salon. One is left with the unlikely scenario that in 1746, years before his association with Boucher, Bergeret de Grancourt commissioned a portrait of his wife, which the artist, despite his complete inexperience in full-length portraiture at that time, accomplished with singular success; and furthermore, that he then adapted this design (still feeling it necessary to work out the composition in oil sketches[18]  [18]Colin Eisler, Paintings from the Samuel H. Kress Collection: European Schools Excluding Italian (Oxford, 1977), 320 n. 4, noted a drawing (Stockholm, Nationalmuseum, NM Anck. Men Johanne Louise Schmidt løfter forestillingen Der er én virkelig god ting at sige om Katrine Wiedemanns gumpetunge og søvndrukne opsætning af ’Cyrano de Bergerac’ på Det Kongelige Teater. No representations of her have been found with which to compare Boucher’s painting (which very likely was somewhat idealized). Alastair Laing, François Boucher (1703 – 1770) (New York, 1986), 229 – 233, no. Collection data may have been updated since the publication of the print volume. [21]  [21]The daughter of Michel Jacques de Lévy, grand bailli d’épée du comté de Dourdan and trésorier-payeur des gages des officiers de la Chambre des Comptes de Paris; they were married on February 4, 1766 (see Eugène Darras, “La famille Bergeret de l’Isle-Adam et de Frouville (Seine-et-Oise),” Mémoires de la Société historique et archéologique de l’arrondissement de Pontoise et du Vexin, 1933, 80; Georges Wildenstein, “Un amateur de Boucher et de Fragonard: Jacques-Onésyme Bergeret, 1715 – 1785,” Gazette des Beaux-Arts ser. © The Wallace Collection. On Bergeret’s three wives, see Eugène Darras, “La famille Bergeret de l’Isle-Adam et de Frouville (Seine-et-Oise),” Mémoires de la Société historique et archéologique de l’arrondissement de Pontoise et du Vexin, 1933, 79 – 81. Note: Exhibition history, provenance, and bibliography are subject to change as new information becomes available. If this picture looks right out of Beatrix Potter's world, we'd say you have a good eye for a story. Préparer votre séjour . Tél. You may download complete editions of this catalog from the catalog’s home page. Find more prominent pieces of portrait at Wikiart.org – best visual art database. 9. Moreover, a date of 1746 would make Madame Bergeret Boucher’s first full-length portrait and thus a remarkably accomplished effort for an artist who was not wholly at ease in the genre. Read our full Open Access policy for images. Shortly after the death of his second wife in 1773, Bergeret left for an extended voyage to Italy, taking Jeanne with him, along with the painter Jean-Honoré Fragonard and his wife (see Eugène Darras, “La famille Bergeret de l’Isle-Adam et de Frouville (Seine-et-Oise),” Mémoires de la Société historique et archéologique de l’arrondissement de Pontoise et du Vexin, 1933, 80 – 81); they married in August 1777. On this point, see Georges Wildenstein, “Un amateur de Boucher et de Fragonard: Jacques-Onésyme Bergeret, 1715 – 1785,” Gazette des Beaux-Arts ser. Service de Gynécologie-Obstétrique - CH Samuel Pozzi. ‘Madame Bergeret’ was created in 1766 by Francois Boucher in Rococo style. The West and East Buildings remain closed at this time. 3] François Boucher, Madame de Pompadour, 1759, oil on canvas, By kind permission of the Trustees of the Wallace Collection, London. It depicts a young woman, resplendent in a full-length gray satin gown, standing in an intimate corner of a garden. The Sculpture Garden is now open from 11:00 a.m. to 4:00 p.m. daily. Colin Eisler, Paintings from the Samuel H. Kress Collection: European Schools Excluding Italian (Oxford, 1977), 320 n. 4, noted a drawing (Stockholm, Nationalmuseum, NM Anck. Available under a CC-BY-NC-ND 4.0 (Unported) license., in which Pompadour appears in a similar though more elaborate costume standing in an equally sylvan setting, with abundant foliage surrounding her and roses strewn about. Bergeret [New York, n.d. (1942)], 2; Georges Wildenstein “Un amateur de Boucher et de Fragonard: Jacques-Onésyme Bergeret, 1715 – 1785,” Gazette des Beaux-Arts ser. [7]  [7]Alastair Laing, François Boucher (1703 – 1770) (New York, 1986), 229 – 233, no. A bright bow is tied to her bodice, a spray of flowers is pinned to her sleeve, and a simple straw hat hangs at her side, held by a ribbon tied to her elbow. © RMN-Grand Palais / Art Resource, NY. Additional light adaptations have been made for the presentation of this text online. Another version of the sketch, also by Boucher (Waddesdon Manor, England, Rothschild Collection), depicts Pompadour, like Madame Bergeret, holding a straw hat in her right hand.
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