Canvas 80 cm by 63 cm
Frame of 100 cm by 83 cm
François de Troy (1645-1730)
He learned the basics of painting under the direction of his father, then shortly after 1662, Troy went to Paris to study the portrait under the direction of Claude Lefèbvre (1633-1675) and Nicolas-Pierre Loir (1624-1679) Alexandre Pierre François Robert-Dumesnil states that this happened when Troy was 24 years old.
In 1671 he became a member of the Royal Academy of Painting and Sculpture. In 1674, he was received at the Academy as a history painter, with a reception piece entitled Mercury cutting the head of Argus. In 1698 he was appointed professor.
In the 1670s, he befriended Roger de Piles, who introduced him to Dutch and Flemish painting. Claude Lefebvre's success as a portrait painter led him to become a portraitist himself.
In 1679, he was commissioned to paint the portrait of the Swedish ambassador Nils Bielke and, in 1680, that of Marie-Anne of Bavaria, shortly after her marriage to Louis de France. Among his clients were Madame de Montespan, his son Louis-Auguste de Bourbon and his wife Louis-Auguste de Bourbon.
Thanks to these orders, François de Troy was able to work without interruption with the nobility of court for nearly fifty years. He was admired for his ability to portray nobility with his good manners and of course fashion. It was said that his painting had the ability to make any woman beautiful.
In the 1690s, Francis of Troy became the main painter of the court of King James II in exile at Saint-Germain-en-Laye, where he was the master of the painter Alexis Simon Belle.
Between 1698 and 1701, a period of peace between France and Great Britain, the Jacobites (partisans of James II) could cross the English Channel with portraits of James Francis Edward Stuart and his sister Princess Louise Marie Therese Stuart. François de Troy was then the only painter of the court of James II and needed the help of Belle, his best pupil, to realize the many portraits that had been ordered.
6 000 €