Fragonard, Jean-Honore – Marie-Madeleine Guimard (1743-1816), prima ballerina of the Paris Opera. Canvas, 81, 5 x 65 cm R.F.1974-1 Part 1 Louvre

Here we observe a half-length portrait of a woman, rendered in a style characteristic of late Rococo art. The subject is positioned at what appears to be a table or desk, her gaze directed slightly off-center with an expression that suggests both amusement and introspection. Her posture is relaxed; one hand rests on the surface before her, while the other holds a small object – possibly a coin or token – between thumb and forefinger.
The woman’s attire is indicative of a fashionable elite. She wears a gown in warm terracotta tones, accented with delicate white ruffles at the neckline and cuffs. A ribbon adorns her hair, which is styled into an elaborate updo decorated with floral elements. The color palette leans towards muted earth tones, punctuated by the brighter whites and pinks of the facial complexion and the dress’s detailing.
The background is a dark, indistinct brown, applied in broad strokes that create a sense of depth without offering specific details. This treatment serves to focus attention entirely on the subject. The lighting is soft and diffused, highlighting her face and upper body while leaving the lower portion of the composition in shadow.
Subtleties within the painting suggest a narrative beyond a simple likeness. The presence of the coin implies an engagement with commerce or perhaps a playful reference to patronage. The slightly melancholic cast of her expression hints at complexities beneath the surface of aristocratic life, potentially alluding to anxieties about social standing or personal relationships. The overall impression is one of refined elegance combined with a quiet vulnerability – a portrait that seeks not only to capture physical appearance but also to convey an element of psychological depth.