Who painted Mademoiselle Contat?

Mademoiselle Contat was painted by F. Coutellier in 1764.

Where can I see Mademoiselle Contat?

Mademoiselle Contat is held by National Gallery of Art.

What movement is Mademoiselle Contat?

Mademoiselle Contat is associated with Baroque.

Artwork

Mademoiselle Contat

F. Coutellier , 1764

Mademoiselle Contat is an ink print by the Baroque artist F. Coutellier. It dates from 1764 and is held in the collection of the National Gallery of Art. Created in 1764, this color stipple engraving by French printmaker F.

About this work

Overview

Created in 1764, this color stipple engraving by French printmaker F. Coutellier presents a portrait of a young woman. She is shown in three‑quarter view, turned slightly away, her expression composed. The composition is framed by a dark background that accentuates a light‑toned border, drawing attention to the figure’s elaborate hairstyle and delicate accessories.

Subject & Meaning

The sitter is identified as an actress who performed the role of Suzanne in Beaumarchais’s *Le Mariage de Figaro*. The inclusion of a small flower at her collar and the theatrical reference suggest a connection between her public persona and the character she portrayed, emphasizing the interplay of performance and identity in 18th‑century French theatre.

Technique & Style

Coutellier employed the color stipple method, a technique that builds tonal variation through a multitude of fine dots. This approach yields a soft, almost painterly surface, allowing subtle gradations of light and shadow across the veil, ribbons, and feathered coiffure while preserving the crispness required for portraiture.

History & Provenance

The print originates from the mid‑eighteenth century, a period when portrait engravings served both as commemorative images and as promotional material for stage performers. Although specific ownership records are scarce, the work reflects the contemporary market for theatrical portraiture circulated among patrons of the Parisian stage.

Context

During the 1760s, *Le Mariage de Figaro* was a popular subject for visual representation, and actresses often commissioned likenesses to enhance their public profile. Coutellier’s engraving aligns with this trend, offering a visual record of a performer’s costume and demeanor that would have been recognizable to contemporary audiences.