A portrait painter of a very different stamp was Nattier’s son-in-law,
Louis Tocqué (1696-1772). Although he, too, was a favourite not
only at the French, but also at the Russian and Danish Courts, the
examples of his art at the Louvre suggest that he was but indifferently
successful—from the artistic point of view—with his “official”
portraits, like the _portrait d’apparat_ of _Marie Leczinska, Queen of
Louis XV._ (No. 867), or the affected _Portrait of the Dauphin Louis at
the age of ten_ (No. 868). On the other hand, when he was not weighed
down by the importance of his task, he attained to a solidity of style,
strength of character painting, and beauty of technique that place
him at the head of the French portraitists of his period. Tocqué was
apparently never in England, but such masterpieces from his brush as
the _Mme. Danger embroidering_ (No. 868A), and the supposed portrait of
_Mme. de Graffigny_ (No. 869), show distinct affinity with Allan Ramsay
and Hogarth, with superadded French _finesse_ and suavity.
[Illustration:
PLATE XLII.—JEAN HONORÉ FRAGONARD
(1732-1806)