The leading position among the portrait painters of Louis XV.’s corrupt
Court was occupied by Jean Marc Nattier (1685-1766), who was a good
colourist, but was utterly lacking in sincerity, and placed his able
brush at the service of the basest flattery. He has left a whole
gallery of Court beauties posing as, and invested with the attributes
of, Greek goddesses and allegorical personifications in the manner of
the group of _Mdlle. de Lambesc and the Comte de Brienne_ (No. 659) as
Minerva preparing the hero for warlike exploits. The _Magdalen_ (No.
657) is probably another contemporary portrait in fancy costume. His
best picture at the Louvre is the _Portrait of a Young Woman_ (No.
661A).
François Hubert Drouais (1725-1775), the painter of the group of the
_Comte d’Artois (afterwards Charles X.) and Madame Clotilde, afterwards
Queen of Sardinia_ (No. 266), who received a good share of Court
patronage, showed considerable ability when he had sufficient strength
to resist the temptation to flatter his sitters. But unfortunately he
too often followed the example of Nattier in this respect.