Pierre GOBERT (1662–1744) Portrait of a lady

Pierre GOBERT (Fontainebleau 1662–1744 Paris)
Circa 1690-1710 Portrait of a lady, three-quarter-length

Oil on canvas (relined), 88 x 71 cm ; framed 116 x 96 cm

PROVENANCE:
- Private collection Lyon until mars 2024

THE WORK:
The portrait of a lady we present is unpublished.
The similarity of details from the model's face and the lace, with those of the Portrait of François III of Lorraine, painting acquired in 2017 by the Luneville castle Museum, obliges us not to exclude that our subject could be a member of this family. Another probability, an execution at Versailles, where we know that the artist will have painted a considerable number of eminent members of the court, mainly female.
Already, all of this information which relates to the stylistic domain, but also that of a purely technical order, suggests a dating in the years 1690-1710.

THE ARTIST:
Son of Jean Gobert, sculptor to the king established in Fontainebleau, Pierre Gobert specialized in portraiture at a very young age, most likely training with royal portrait painters. From 1682, he was chosen to paint the Duke of Burgundy aged a few weeks (lost), but his activity remains difficult to trace until 1701 when he presented himself before the Academy. Only four months later, the artist was received, having delivered the requested portraits of Louis II of Boullogne and Corneille Van Cleve (Versailles, inv. MV 5821 and 5837).
In his new capacity as academician, Gobert sent to the Salon of 1704 no less than seventeen portraits, including his two reception pieces and, supreme honor, that of the Duke of Brittany (elder brother of the future Louis XV) placed ” under a rich green velvet canopy” on a platform next to the paintings of the king, the dauphin and the Duke of Burgundy by Hyacinthe Rigaud. As for the other paintings presented by Gobert, they were – with the exception of the portrait of the artist's wife – revealing of his clientele composed exclusively of the most eminent members of the court and predominantly female.
From then on, the portrait painter's career was punctuated by royal and prestigious commissions, most of them coming from the House of France. In 1714, he signed a portrait of the future Louis XV intended for the Spanish court. From the following year and until at least 1733, the artist was also regularly employed by the ruling family of Monaco. In 1725, the artist went to Wissembourg where the Polish court in exile resided to paint Princess Marie Leszczinska. The following year, that of his appointment as advisor to the Academy, he was paid 2,700 pounds for three portraits of the queen, including the one “full length decorated with all her attributes”. Later, it was the turn of Louis XV's daughters to pose for Gobert.
It is certainly his glory as a painter of “women and children” which earned our artist the invitation to Lorraine. Un Mémoire des ouvrages de peinture faits par le soussigné par ordre de Leurs Altesses Royales fortunately preserved lists the portraits made by the artist between September 1707 and March 1709. We discover there that he had to repeat in ten copies each of the Portraits of Duke Leopold, of Élisabeth-Charlotte and their four daughters, but also paint the duke's two brothers, "Her Royal Highness Madame with Monsignor the Prince" (Nancy, Lorraine museum, inv. 77.2.13) and make "the original portrait of monseigneur le petit prince” (Versailles, inv. 4433). In 1710, it was Louis de Lorraine, born in 1704 and died of smallpox in May 1711. Gobert represented him blowing soap bubbles and wearing a green velvet dress with gold braid, because the heir had not yet reached the age of “passing to men”, set at four years in Lorraine as in France.
Le portraitiste quitta le duché fort du titre de peintre ordinaire du duc Léopold. Toutefois, un seul autre voyage de Gobert est documenté : le 5 décembre 1721, il donna quittance à Nancy de la somme de deux mille livres « à compte du prix des portraits de la maison Royale par lui faits à Lunéville », le surplus devant être payé à Paris. De ce séjour datent les deux portraits de Léopold Clément (1707-1723), promis à la succession après la mort de Louis : le premier datant de 1720 environ (Versailles, inv. MV 3734, gravé par Jean-François des Cars) et le second réalisé en 1721, date à laquelle le prince reçut la Toison d’or (Versailles, inv. 3738, gravé par Duflos). De nombreux portraits, attestent des relations continues du portraitiste parisien avec la Lorraine : Gobert devait se rendre assez régulièrement à Nancy et à Lunéville pour notamment peindre les enfants du couple ducal.
The portrait painter left the duchy with the title of ordinary painter to Duke Leopold. However, only one other trip by Gobert is documented: on December 5, 1721, he gave Nancy a receipt for the sum of two thousand livres "taking into account the price of the portraits of the Royal house made by him in Lunéville", the surplus to be paid in Paris. From this stay date the two Portraits of Léopold Clément (1707-1723), promised to the succession after the death of Louis: the first dating from around 1720 (Versailles, inv. MV 3734, engraved by Jean-François des Cars) and the second painted in 1721, date on which the prince received the Golden Fleece (Versailles, inv. 3738, engraved by Duflos). Numerous portraits attest to the Parisian portraitist's continuing relations with Lorraine: Gobert had to travel quite regularly to Nancy and Lunéville to paint the children of the ducal couple in particular.