Francois Boucher’s piece, titled Portrait of Madame de Pompadour, is a representation of a woman reclining on her seat’s backrest holding a book in her hand. She is wearing a fancy dress and gazing blankly into the distance. This painting’s focus is on its woman seater with her exceptionally sophisticated dress and hairstyle, which contrasts the plain purple background.
The piece is oil on canvas and only visible from one side because it is positioned on a wall. The portrait of Madame de Pompadour appears intimidating with its royalty and yet pleasing at the same time.
The open and smiling face of the life-sized subject is friendly to the viewer. The sitter, who appears uninterrupted from her gaze, is Marquise de Pompadour, the King of France’s, Louis XV, mistress. This portrait depicts status while conveying individual leisure and expressing the noble identity of the 16th century.
The clothes in the room have a vibrant color that possibly signifies Pompadour’s status. Her dress is detailed with several pink decorations that almost achieve a real-life quality, giving an accurate impression of the scene. The roses on her feet also appear real, further enhancing the feeling of authenticity.
The womanly inconsequentiality of the white and pink petals scattered on the subject is a counterbalance of the symbols that populate the frame. The small side table beside Pompadour’s head is full of evidence on the subject’s privacy. There is a letter that sits on its top, while a quail peaks from the open drawer.
Beneath the table lies a pile of papers and books, some of which spills on the floor. At Pompadour’s feet lies more paper beside her royal spaniel. The numerous books in the artwork perhaps signify Pompadour’s passion for reading and that they might be in her possession for reasons beyond decorations. The objects atop the table indicate a unique role of the subject as an active correspondent.
The papers at Pompadour’s feet include engravings, music, a rolled map, and a portfolio of drawings. The disarray of these items refers to their functionality.
They are not neatly organized, disregarding the notion that they might be meant for decorative purposes. Instead, the disorganization is a suggestion that Pompadour might have been interrupted in the process of organizing the room, or she was using them and never placed them back in their rightful places. The objects offer various hints about Pompadour’s activities or interests.
There is a possibility of artistic activities by the subject as a patron or student. The collection of items further highlights Pompadour’s intellectual value, offsetting the painter’s romanticized representation of her beauty. Notably, the items in this painting do not only place Pompadour as a sitter at home in a non-ceremonial capacity but engage the viewer as a participant in her privacy.
The items invoke a reading of Pompadour as an exceptionally learned woman who is not only recognized for her beauty, social elegance, and grace but her participation in arts. As a powerful patron, she is in a position of authority within the field of art, writing letters to shape tastes and guide trends.
From her backstory, Pompadour rose among ranks following her alleged affairs with the king. There is a symbolic representation of the king visible from various aspects of this artwork. He is adorning a pearl bracelet, which serves as an indication of her association with the royalty. Pearl was an expensive commodity in the 16th century and was reserved for people of higher social status in society.
Pompadour’s uninterrupted gaze in the portrait might be signifying the presence of an invisible entity. Perhaps the king is involved in the creation of the artwork. The gaze might also be indicative of a theoretical reflection that is a characteristic of many such portraits. This further highlights the authorization of the king that is silently involved with the portrait.
Pompadour sitting at home in a relaxed position could be an appreciation to the fair female. Besides, her face painted indicates the fact that the piece was meant for femininity. Applying makeup during the period of this painting was a symbol of social identity and political involvement. There is a statement that is made from how Pompadour has painted her face.
There is a further statement about the culture of the time that this art was painted. Makeup was significant at the time this painting was made, and it is without a doubt, the painter was aware of this. The prominence of women’s appearance was a significant element of social life in the 6th century. The visual symbols supporting this should not be disregarded.
In summary, this analysis of Portrait of Madame de Pompadour has focused on the craftsmanship and details the piece uses to make a statement and meaning that intrigues onlookers. Francois Boucher’s intent may never be clear, but the interpretation of each symbolism is that it serves a purpose. This analysis appreciates the thoughts and efforts of the symbolic representation of Pompadour’s life.