Nattier Jean-Marc (Paris 1685-1766) – Constance-Gabriel-Madeleine Bonnier de la Mosson as Diana (129x96 cm) 1742 J. Paul Getty Museum

The composition presents a woman in a pose suggestive of classical allegory. She is seated on what appears to be a rocky outcrop, draped in flowing garments that combine white and a vibrant red. The fabric cascades around her, emphasizing the curves of her body while simultaneously contributing to an overall sense of luxuriousness. A fur stole, likely leopard or similar spotted feline, is casually thrown over one shoulder, adding another layer of visual richness and symbolic weight.
The woman’s expression is composed; a slight smile plays on her lips, conveying both confidence and a degree of studied composure. She holds a bow in her hand, the string taut, poised for action but not engaged. This detail immediately introduces an element of potential power and skill, aligning her with figures associated with hunting or warfare. A wreath of flowers adorns her hair, further reinforcing associations with idealized beauty and perhaps even pastoral innocence.
The background is a landscape rendered in muted greens and blues, suggesting a natural setting – a wooded area fading into a sky hinting at an expansive horizon. The artist has employed a soft focus for the backdrop, ensuring that the woman remains the focal point of the work. Light falls upon her face and upper body, highlighting her features and creating a sense of luminosity.
Subtextually, the painting operates on several levels. The bow and fur suggest attributes often linked to Diana, the Roman goddess of the hunt, implying a connection between the sitter and ideals of female strength, independence, and nobility. The red fabric could symbolize passion or status, while the white might represent purity or virtue – a common pairing in portraiture of this era. The overall effect is one of carefully constructed persona; the woman is presented not merely as an individual but as a representation of certain virtues and aspirations. It’s likely that the work served to elevate her social standing through association with classical mythology and idealized feminine qualities, reinforcing notions of aristocratic identity and refinement.