Who painted Jeune Seigneur François/Dame en Mantille?

Jeune Seigneur François/Dame en Mantille was painted by Jacques Chéreau in 1724.

Where can I see Jeune Seigneur François/Dame en Mantille?

Jeune Seigneur François/Dame en Mantille is held by National Gallery of Art.

What movement is Jeune Seigneur François/Dame en Mantille?

Jeune Seigneur François/Dame en Mantille is associated with Baroque.

Artwork

Jeune Seigneur François/Dame en Mantille

Jacques Chéreau , 1724

Jeune Seigneur François/Dame en Mantille is an ink print by the Baroque artist Jacques Chéreau. It dates from 1724 and is held in the collection of the National Gallery of Art.

About this work

Overview

Jacques Chéreau’s print, dated around 1724, presents a trio of elegantly dressed figures against an unadorned backdrop.

Jacques Chéreau’s print, dated around 1724, presents a trio of elegantly dressed figures against an unadorned backdrop. The central male figure wears a knee‑length coat with prominent buttons and a sword, while the two women on either side hold fans, one accompanied by a small bouquet. The composition functions as a visual catalogue of contemporary French attire, emphasizing intricate lace, patterned fabrics, and the refined silhouettes of early eighteenth‑century fashion.

Subject & Meaning

The work identifies its sitters as “Jeune Seigneur François” and a “Dame en Mantille,” indicating a young nobleman and a lady clad in a mantilla‑style garment. By pairing the male aristocrat with two female companions, the image reflects the social rituals of courtly display, where clothing signified rank and taste. The inclusion of accessories such as a sword and fans underscores the gendered codes of elegance and propriety prevalent in French elite circles of the period.

Technique & Style

Executed as an engraving with etching on laid paper, the print combines the crisp linear quality of engraving with the softer tonal variations achievable through etching. Chéreau’s handwork renders the delicate lacework and fabric patterns with fine cross‑hatching, while the plain background allows the figures to dominate the visual field. The use of laid paper, with its characteristic ribbed texture, contributes to the tactile impression of the printed surface.

History & Provenance

Created in the early 1720s, the print belongs to a broader French tradition of fashion plates that circulated among the aristocracy and tailors. Jacques Chéreau, a noted Parisian printmaker, produced numerous similar works that documented contemporary dress. While specific ownership records for this particular impression are scarce, prints of this type were commonly collected in albums of costume studies and served as reference material for dressmakers and patrons alike.