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Misse and Luttine
Jean-Baptiste Oudry·1729
Historical Context
Misse and Luttine, painted by Jean-Baptiste Oudry in 1729, depicts two of the celebrated royal hounds belonging to Louis XV, and it belongs to the prestigious series of dog portraits that Oudry painted for the French court through the late 1720s and 1730s. The royal pack at Versailles was one of the most famous in Europe, and Oudry was appointed its principal painter, responsible for documenting individual dogs with the same care a portraitist brought to human sitters. These animal portraits were taken entirely seriously: the dogs had names, lineages, and distinctive characters that Oudry was expected to capture. The tradition of royal dog portraiture extended from Velázquez and the Spanish court to the English and French monarchies, but Oudry brought to it a naturalist precision and warmth that makes his canine portraits among the most vivid works of the French Rococo period.
Technical Analysis
Oudry renders the dogs' coats with meticulous attention to texture — the way fur falls, catches light, and varies in density — applying paint in fine, directional strokes that follow the lie of each animal's hair. The compositions place the dogs in landscape settings that provide environmental context. The palette is warm and naturalistic.
Provenance
Commissioned 1729 by Louis XV, King of France [1710-1774].[1] (anonymous dealer, London); purchased c. 1944 by Peter Coats, Kelvedon Hall, Brentwood, Essex, and London;[2] purchased by Mr. and Mrs. Eugene V. Thaw, New York, by 1977; gift 1994 to the NGA. [1] This painting is related to a group of portraits of dogs belonging to Louis XV and destined for the royal chateau at Compiègne. For its early history, see Georges de Lastic, "Desportes et Oudry, Peintres des chasses royales," _Connoisseur_ 196 (December 1977): 294, and Hal Opperman, _J-B Oudry, 1686-1755_, exh. cat., Kimbell Art Museum, Fort Worth, 1983: 126-127. [2] Peter Coats describes how he purchased the painting from a Sloane Street shop that had been bombed during World War II. See his letter to Eugene Thaw, dated 29 August 1984, in NGA curatorial files.


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