Musée No:792.018

Musée No:792.018

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Artist: Jean-Marc Nattier


Jean-Marc Nattier (1685 – 1766) was a French painter in the Rocco style. He was born in Paris, son a portrait painter and of a miniaturist. In 1703 he enrolled in the Royal Academy and in 1715 he travelled to Amsterdam to paint Tsar Peter the Great and Empress Catherine, but declined an offer to accompany them to Russia. The financial collapse of 1720 all but ruined Nattier, who found himself forced to refocus on the more lucrative option of portraiture.

He became the painter of the beauties of Louis XV's court and revived the genre of the allegorical portrait. His aim was to paint the sitter so that their personality and character come flooding through, there was more frivolity, luxury and softness, the colours brighter. He also included sumptuously rich materials, delicate flowers, curtains etc. His sitters frequently posed as the Goddess Diana, or as Hébé (the Goddess of youth) or as a figure of a Sultan’s harem. He was careful to flatter the beauties, not a single blemish appears on their skin, which given the state of medicine in the 18th century is nothing short of a miracle. He served as official portraitist to the four daughters of Louis XV from 1745, painting those young ladies in innumerable guises and pursuits. His immense success (over 400 works) was due not only to his talent but also to sheer hard work.

Random fact: some two hundred years later, in the 20th century, the term “Nattier Blue” is now used to describe the very distinct shade of greyed cyan blue he used on rich velvet of royal clothing. The reference Nattier’s blue was found on a colour card from Le Corbusier’s (one of the pioneers of modern architecture) estate. The Pantone number is #6FA0BF. 

As with the other stunning Nattier portrait in the Musée Collection (Musée N° : 792.020) this is a portrait of an unknown court beauty. She is dressed as Diana, Goddess of the Hunt. For many years it was thought to be a portrait of the King’s mistress, Madame de Pompadour, but now she is thought not to be as she bears little resemblance to other paintings. Over the years scholars have found it incredibly difficult to identify the different women as they are all airbrushed 18th century style into an ideal concept of feminine beauty.

In Roman mythology, Diana was the goddess of hunting, and in later times, the moon, chastity, the countryside and, oddly, crossroads.  She is also associated with fertility and nature. In Greek mythology she was called Artemis. According to mythology Diana was born with her twin brother Apollo on the island of Delos. Her name Dīāna probably derives from Latin dīus ('godly'), meaning 'divine, heavenly'. Diana has been one of the most popular themes in art used by painters like Titian, Peter Paul Rubens, François Boucher, Nicholas Poussin, ...

Borders & Mounts

None of our prints come with separate mounts. Some have a printed border which replaces the need for a mount, and some are borderless pieces. In either case the edge to edge size of the prints is 'A' sized as stated. If you should want a mount around your print, then you just need to buy a mount for the 'A' size you choose and then a frame to go with that.

What size frame do I need ?

Each piece of artwork in the Musée gallery has been resized to work perfectly with International 'A' paper sizes. All you need to think about when framing your Musée artwork is that it needs to be in the appropriate A sized frame. This means that no part of your artwork will be lost to cropping when choosing frame sizes. It also means that everything will work proportionately in gallery walls, and print sets. There are many budget, off the shelf A sized frames on sites like Etsy and Ebay which we very happily recommend for our prints.

We also now produce our own collection of high quality, professionally framed artwork, ready to hang.

To see our collection of quality frames - CLICK HERE

Print Quality

Our approach to printing is built on the ability to faithfully reproduce artworks using the finest inks and papers available today. A world away from mass produced posters we take pride in producing beautiful, affordable, fine art prints in-house, for discerning interior lovers everywhere.

Giclée Printing - In order to achieve this consistent, outstanding quality we produce every archival pigment print (alternatively know as giclée) to order using the same ink, paper and printing techniques used by museums all over the world. (Giclée is pronounced gee-clay with a soft G) Our archival giclée prints are loved for their vibrant tonal range and the handmade feel of their beautiful textured papers. The quality of a giclée print is far superior to all other forms of printing and when done authentically it is the closest reproduction printing method possible for matching to an original artwork.

Acid Free Paper - Each piece of Musée Art is printed to order on 312 GSM Paper. GSM is a measurement of the thickness of the paper. It is based on calculating the amount a sheet of paper would weigh, in grams, if it was exactly one square metre in size. Paper with a higher GSM will generally be thicker and therefore more difficult to crease or tear. Museum grade acid free papers are made from 100% cotton pulp rather than wood-based products. High quality cotton fibre paper is known to last hundreds of years without appreciable fading, discolouration, or deterioration due to the fact no chemicals are used in its production. Unlike wood based, mass produced alternatives,which will deteriorate, fade and change colour over time.

Inks - Archival pigment printing (giclée) uses inks which have longevity rates calculated at over 100 years. This printing technique must utilise eight or more different ink colours which are colour profiled to match the archival paper to achieve a perfectly colour accurate reproduction of the original piece of art. 

Mount Board - All Musée museum quality prints are professionally mounted on 2.4mm acid free art board ready to free stand or frame. Mounted prints also help to preserve the qualty of the edges and keep the prints perfectly flat with no risk of cockling. Cockling is the process by which a print starts to ripple due to changing levels of ambient moisture which are naturally present in the air in all our homes. Also, when you decide to either change your Musée artwork in your frames or swap them out for a new find, a Musée mounted print will stay flat and safe whilst in storage.

Stacked image of fanned white 312 gms paper showing the high quality and softly woven texture of the surface of the paper.

312 gsm Paper

All muséee prints are reproduced on the finest quality 312 gsm museum archival acid free paper.

Mount Board

All Musée prints are mounted on acid free 2.4 mm mount board ready for
framing or free standing display.

Image of a single sheet of cotton rag paper showing the soft woven texture of the surface.

Cotton Rag

100% natural cotton based paper has a beautiful fine textured finish.