Madame de Saint-Morys (Eléonore Elisabeth Angélique de Beauterne, 1742–1824) 1776 Joseph Siffred Duplessis French Applying the final stages of makeup and clothing in the presence of close friends and acquaintances—even potential suitors—was a standard part of elite sociability known as la toilette. It was frequently referenced in eighteenth-century portraiture. Duplessis skillfully depicts Madame de Saint-Morys’s plump figure next to her dressing table with a sympathetic naturalism that was praised by critics at the Salon of 1777. The sitter’s husband was a key patron of Greuze and a major col
Madame de Saint-Morys (Eléonore Elisabeth Angélique de Beauterne, 1742–1824) 1776 Joseph Siffred Duplessis French Applying the final stages of makeup and clothing in the presence of close friends and acquaintances—even potential suitors—was a standard part of elite sociability known as la toilette. It was frequently referenced in eighteenth-century portraiture. Duplessis skillfully depicts Madame de Saint-Morys’s plump figure next to her dressing table with a sympathetic naturalism that was praised by critics at the Salon of 1777. The sitter’s husband was a key patron of Greuze and a major collector of drawings, including sheets by Leonardo da Vinci, Michelangelo, Titian, Dürer, and Rembrandt that are today in the Musée du Madame de Saint-Morys (Eléonore Elisabeth Angélique de Beauterne, 1742–1824) 436235
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