A portrait of a man in a blue coat by François de Troy

This exquisite portrait of a man in a blue coat intrigues the viewer with its modelling, which is both realistic and delicate, his intense gaze and his feminine mouth. The coat is worn in a theatrical manner, creating a display of folds and colours, as is frequently seen in late^17th-century portraits, notably in a self-portrait in a blue coat by Hyacinthe Rigaud (1659–1743), now in a private collection.

Like many gentlemen of the 1690s–1710s, the figure is depicted in a three-quarter profile, allowing the face to turn towards the viewer and heightening the intensity of the gaze.  The abundant, curly hairstyle is also typical of the late^17th century. There are few details of his attire that can help us refine the dating of this portrait, apart from the ‘chaconne’ – a long silk ribbon, here made of lace, hanging from the collar of his carelessly unbuttoned shirt. According to the Dictionnaire de Trévoux, it had been in fashion since 1770, but it is particularly prominent in portraits from 1690 onwards.

This portrait has remained an enigma to many experts, but it certainly belongs to the circle of three French artists who, from the reign of Louis XIV to that of Louis XV, revolutionised the art of portraiture: François de Troy (1645–1730), Nicolas de Largillierre (1656–1746) and Hyacinthe Rigaud (1659–1743).  The technique of ‘moistening the eyes’—an illusionist painterly method—is identical in the work of all three artists: a small white line just above the lower eyelid for one pupil, and a wider line running across the entire lower eyelid for the other eye.

However, with advances in research and the gradual re-emergence of portraits painted by Hyacinthe Rigaud during his youth, the hypothesis that this portrait is his work must be ruled out. Indeed, the ‘smooth’ appearance of the skin and the blended tones—which were widely praised from his very first portraits—are not present here.

The downy texture of the cloak, as well as the way the flesh tones have been refined—with those small touches of white scattered around the eyes or on the prominent features of the face—are far more reminiscent of the style of François de Troy, whose work is characterised by its richness of texture, or perhaps that of his pupil, Alexis Belle (see the Portrait of the miniature painter Jacques Antoine Arlaud (1668–1743) from the Bruun Rasmussen auction, Copenhagen, 27 November 2018). The essence of François de Troy’s art lies in the balance he manages to strike between the scrupulous imitation of facial features and the rendering of a unique expressiveness.

François de Troy was the first to break free from the constraints of classical tradition in portraiture, breathing new life into the genre and demonstrating his talent for nearly fifty years. Originally from the south of France, he moved to Paris and studied under the guidance of the great portraitist Claude Lefebvre. However, it was as a history painter that he was admitted to the Royal Academy in 1694, where he subsequently held every position before specialising in portraiture.

He fulfilled numerous commissions from wealthy private clients and produced several portraits of the royal family during the 1680s and 1690s. A few years later, he worked in the service of the Dukes of Maine and their court at Sceaux. In the 1690s, François de Troy became the principal court painter to King James II whilst in exile at Saint-Germain-en-Laye. Between 1698 and 1701, a period of peace between France and Great Britain, the Jacobites (supporters of James II) were thus able to cross the English Channel carrying portraits of the Stuart family.