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378:"For its beauty, vivacity, freshness and lightness of palette," Liotard wrote, "pastel painting is more beautiful than any other kind of painting." Liotard is known for pressing pastel quite forcefully onto the paper to create extra brilliance in order to exaggerate these qualities. This peculiar technique and desire for luminosity is what set him apart from other artists working with pastel and makes his works unique.
367:, in order to provide a realistic imitation of nature. The invisibility of brushstrokes could be achieved more easily by the use of pastel instead of oil paint. It is thus unquestionable that Liotard chose the pastel medium because of its ability to imitate nature, which he found the most important aspect of painting. For the same reason, Diderot mentions that pastel is the best medium for portraiture in his
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might be his oldest pastel works that have been remained. While
Liotard mainly worked with oil paint in Paris, one can say Liotard's career as pastellist officially begun in Italy. Liotard had already been familiar with the medium of pastel during his younger years which he spent in his hometown
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The vast majority of pastels that survive from the eighteenth century were not fixed. The powdery pigment is applied dry, which makes it quite brittle. This allows the pigment to easily detach from its surface, but also makes it more sensitive to moisture and stains. This factor complicates the
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Liotard mostly used vellum, a surface made from the skin of calves, goats and lambs, for his pastel works as it retains the brilliance of the pigment best. He often prepared his support with fish glue and wine, mixed with fine pumice dust. In the eighteenth century pastel was often supported by
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One outstanding feature of
Liotard's paintings is the prevalence of smiling subjects. Generally, portrait subjects of the time adopted a more serious tone. This levity was a reflection of the Enlightenment-era philosophies that inspired Liotard. Also indicative of the era, Liotard created works
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Geneva, but it was not the medium he officially worked in. The rejection that
Liotard received from the Académie Royale de Peinture in Paris on his historical works in oil paint may have been a stimulus for him to go back to his beloved medium, in which he was notably more skilled.
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coloured paper, especially blue thick paper was popular as it enhanced the brilliance of pastel. According to
Gombaud and Sauvage, Liotard also often used blue paper when working on a paper support.
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In 1762 he painted portraits in Vienna, including Marie
Antoinette; in 1770 in Paris. Another visit to England followed in 1772, and in the next two years his name figures among the
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67:, but spent most of his career in stays in the capitals of Europe, where his portraits were much in demand. He worked in Rome, Istanbul, Paris, Vienna, London, and other cities.
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of
Turkish domestic scenes; he also continued to wear Turkish dress for much of the time when back in Europe. Using modern dress was considered unheroic and inelegant in
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Liotard was born in Geneva. His parents were French
Protestants who had fled to Geneva after 1685. Jean-Étienne Liotard began his studies under professors
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The proportions of pastel result in a particularly dry material that affords intense and vibrant colours, which
Liotard valued working with.
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Many of the masterpieces he had acquired were sold by him at high prices on his second visit to
England. The museums of
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are particularly rich in examples of his paintings and pastel drawings. A picture of a Turk seated is at the
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Shelley, Marjorie (2011). "Paintin in the Dry Manner: The
Flourishing of Pastel in 18th-Century Europe".
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Still under distinguished patronage he returned to Paris. In 1753 he visited England, where he painted
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using Middle Eastern settings, with Europeans wearing local costume, as travellers were advised to do.
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as well as an oil painting of an English merchant and a friend dressed in costumes and entitled
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988:. In sources from outside of Switzerland his country of origin is sometimes (for instance in
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One or more of the preceding sentences incorporates text from a publication now in the
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chose the medium of pastel, in order to give his paintings a naturalistic effect. Liotard's
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celebrating science, like the painting of woman paying homage to the doctor that saved her.
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His eccentric adoption of oriental costume secured him the nickname of the Turkish painter.
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Many travellers had themselves painted in exotic Eastern dress on their return, including
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1004:« Enquête sur l’histoire », trimestrial publication, Winter 93, number 5, p.74.
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183:. Byron's poetry was highly influential in introducing Europe to the heady cocktail of
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in 1756, where, in the following year, he married Marie Fargues. She also came from a
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Liotard was an artist of great versatility. Best known for his graceful and delicate
235:. In his last days he painted still lifes and landscapes. He died at Geneva in 1789.
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and dealer. He is best known for his detailed, strikingly naturalistic portraits in
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are delightful examples, he also achieved distinction for his enamels, copperplate
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in exotic Oriental settings which was later to dominate 19th century Oriental art.
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exhibitors. He returned to his native town in 1776. In 1781 Liotard published his
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Parmantier-Lallement, N. "Liotard, Jean-Etienne". Grove Art Online.
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of 1751, when the popularity of pastel as an artistic medium was at its peak.
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Encyclopédie, ou, Dictionnaire raisonné des sciences, des arts et des métiers
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Jean-Etienne Liotard review – a joyous time machine back to the Enlightenment
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1062:. Vol. 16 (11th ed.). Cambridge University Press. p. 739.
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in 1742 to paint the portraits of the Imperial family. In 1745 he sold
1170:. Paris: Chez Briasson; David l'Aîné, Le Breton; Durand. p. 154.
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Jean-Étienne Liotard, self-portrait 1746, in his favourite medium of
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Neil Jeffares, Dictionary of pastellists before 1800, online edition
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Portrait of Madame François Tronchin (née Anne-Marie Fromaget), 1758
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Monsieur Levett and Mademoiselle Helene Glavany in Turkish Costumes
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inherited an important collection of his drawings and paintings.
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and to his biographical notice on the official website of the
51:; 22 December 1702 – 12 June 1789) was a Genevan painter, art
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74 works by Liotard at the Musées d'Art et d'Histoire, Geneva
1198:"Liotard's Pastels: Techniques of an 18th-century Pastellist"
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and was an expert collector of paintings by the old masters.
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Portrait of Madame Jean Tronchin (née Anne Molènes), 1758
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Some paintings of Liotard in the Amsterdam Rijksmuseum
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720:, 1757, pastel on parchment. Tronchin is looking at
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Explications des différens jugement sur la peinture
363:In his treatise Liotard mentions the importance of
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115:and miniatures he copied with considerable skill.
1149:Traité des principes et des règles de la peinture
1128:Bull, Duncan; Bunt, Thomas Macsotay Bunt (2002).
1079:. New Haven, Conn: Yale University Press. p. 12.
319:. A portrait of the artist is to be found at the
233:Traité des principes et des règles de la peinture
1293:18th-century artists from the Republic of Geneva
1098:Travellers and Sitters: The Orientalist Portrait
1075:Baetjer, Katharine, and Marjorie Shelley. 2011.
311:has, besides twenty-two drawings, a portrait of
1077:Pastel Portraits: Images of 18th-century Europe
525:Portrait of Monsieur Boère, merchant from Genoa
277:, and glass painting. Additionally, he wrote a
224:family, and wanted him to shave off his beard.
27:. The full beard he wore after returning from
16:Painter, art dealer, and Turkophile (1702–1789)
819:Le petit déjeuner de la famille Lavergne, 1754
1278:Liotard paintings at The J. Paul Getty Museum
8:
331:. As his son also married a Dutch girl, the
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267:Maria Frederike van Reede-Athlone at Seven
133:, on whose recommendation he was taken to
118:He went to Paris in 1725, studying under
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1196:Sauvage, Leila; Gombaud, Cécile (2015).
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977:there in one of the republic councils
1166:Diderot, Dennis; et al. (1751).
859:Marianne Liotard Holding a Doll, 1765
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962:Historical Dictionary of Switzerland
992:) referred to as being Switzerland.
776:Portrait of Marthe Marie Tronchin,
31:was a considerable eccentricity in
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1185:. Mercure de France. p. 186.
700:Maria Frederike van Reede-Athlone
1130:Jean-Etienne Liotard (1703-1789)
1118:, The Guardian, 20 October 2015.
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702:, 1755–56, pastel on vellum
527:, 1746, pastel on parchment
96:, ca. 1756, oil on canvas,
85:, 1748, pastel on parchment
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669:Frederick, Prince of Wales
503:Jeanne-Elisabeth de Sellon
313:Lieutenant General Hérault
304:owns two of his drawings.
298:Victoria and Albert Museum
63:, he was born and died in
48:[ʒɑ̃n‿etjɛnljɔtaʁ]
1303:18th-century male artists
762:Portrait of a Young Woman
581:Marie Josèphe von Sachsen
475:1745, pastel on parchment
365:l’élimination des touches
349:le peintre de la verité’,
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584:, 1749, pastel on vellum
545:, 1747, enamel on copper
488:Marie Charlotte Boissier
411:, 1738–39, oil on canvas
347:Liotard, also known as ‘
1059:Encyclopædia Britannica
985:. Also see page 191 in
783:(Art Institute Chicago)
427:grand vizier, probably
94:Dutch Girl at Breakfast
1181:Liotard, J.E. (1762).
1147:Liotard, J.E. (1945).
981:Council of Two Hundred
909:1781–83, oil on canvas
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1054:Liotard, Jean Etienne
654:, 1753, oil on canvas
636:, 1750, oil on canvas
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382:Support and fixatives
369:Dictionnaire Raisonné
199:La belle chocolatière
164:and painted numerous
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44:French pronunciation:
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1308:Orientalist painters
1002:La Vendée La Terreur
971:Jean-Etienne Liotard
922:Still life with Figs
619:Landschaft bei Genf,
271:J. Paul Getty Museum
40:Jean-Étienne Liotard
1100:, in Tromans, 48–75
740:Ami-Jean de la Rive
471:Francesco Algarotti
429:Hekimoğlu Ali Pasha
247:drawings, of which
203:Francesco Algarotti
181:Madame de Pompadour
139:vicomte de Puysieux
120:Jean-Baptiste Massé
1204:. pp. 31–45.
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452:The Chocolate Girl
259:La Belle Lyonnaise
254:The Chocolate Girl
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39:
38:
1328:1789 deaths
1323:1702 births
941:Orientalism
781: 1758
747: 1758
604: 1749
510: 1746
333:Rijksmuseum
193:He went to
185:Romanticism
123: [
98:Rijksmuseum
53:connoisseur
1287:Categories
1151:. Genève:
1132:. Zwolle:
947:References
275:engravings
249:La Liseuse
177:Lord Byron
1318:Huguenots
722:Rembrandt
456:1743–1744
323:, in the
286:Amsterdam
147:cardinals
930:See also
764:, pastel
606:, pastel
540:Empress
329:Florence
222:Huguenot
162:Istanbul
111:, whose
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902:Tea Set
425:Turkish
269:at the
261:at the
218:Holland
166:pastels
137:by the
113:enamels
109:Petitot
35:Europe.
1208:
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847:, 1754
490:, 1746
469:Count
376:
309:Louvre
294:Geneva
292:, and
257:, and
245:pastel
212:, the
195:Vienna
135:Naples
65:Geneva
57:pastel
33:Rococo
29:Turkey
25:pastel
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875:1770)
239:Works
127:]
1206:ISBN
1081:ISBN
990:ULAN
887:1773
621:1750
355:and
307:The
290:Bern
265:and
129:and
107:and
71:Life
1056:".
969:,
724:'s
201:to
153:to
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