The engraving follows the classic model of French academic and commemorative portraiture of the 18th century, characterized by its sobriety, symmetrical design, and devotional or doctrinal nature.
Oval Frame (Medallion): The figure is set within an oval border framed by symmetrical moldings. This feature (derived from the classical medallion) isolates the figure, lending it a timeless and commemorative character.
The Pedestal/Base: At the base, the oval is supported by a simulated architectural structure that incorporates a rectangular cartouche with the biblical inscription in Latin.
Bust Position: The subject is depicted in a three-quarter bust, facing left, a posture that conveys introspection, calm, and academic/spiritual dignity.
Clerical Collar (Rabat): The stiff, white, double-layered collar represents the vestments of the French secular clergy of the 17th and 18th centuries, frequently associated with theological and educational circles.
EPÍGRAFÍA / EPIGRAPHY:
Inscripción Perimetral: Cumple una función de identificación histórica (titulus): identifica al personaje, su cargo (Directeur du Seminaire de Nantes), su fecha de fallecimiento (15 de abril de 1717) y su edad al morir (66 años).
Perimeter Inscription: It serves a historical identification function (titulus): it identifies the person, his position (Directeur du Seminaire de Nantes), his date of death (April 15, 1717) and his age at death (66 years).
Malaquías 2, 6:
«Lex veritatis fuit in ore ejus: in pace et in æquitate ambulavit mecum et multos avertit ab iniquitate.»
TITULO / TITLE :
Jean Mesnard de la Nöe
GRABADOR / ENGRAVER :
Marie-Anne-Hyacinthe Horthemels ( c. 1682–1727 )
La firma «Marie Horthemels sculp.» corresponde a Marie-Anne-Hyacinthe Horthemels, una destacada grabadora francesa del periodo Barroco/Rococó.
Familia artística: Nació en París hacia 1682, hija de Daniel Horthemels, un librero de origen holandés establecido en la Rue Saint-Jacques. Formó parte de una célebre saga familiar de grabadores: sus dos hermanas, Louise-Magdeleine y Marie-Nicolle, también fueron afamadas grabadoras.
Relación con el Janseníismo: Su entorno familiar y profesional estuvo profundamente vinculado al movimiento jansenista y al círculo del monasterio de Port-Royal. Esta filiación explica por qué se le encargó la ejecución de retratos de personalidades del ámbito teológico eclesiástico y simpatizantes del movimiento, como Jean Mesnard de La Noë.
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The signature "Marie Horthemels sculp." belongs to Marie-Anne-Hyacinthe Horthemels, a prominent French engraver of the Baroque/Rococo period.
Artistic Family: Born in Paris around 1682, she was the daughter of Daniel Horthemels, a bookseller of Dutch origin who lived on the Rue Saint-Jacques. She belonged to a renowned family of engravers: her two sisters, Louise-Magdeleine and Marie-Nicolle, were also celebrated engravers.
Relationship with Jansenism: Her family and professional circle was deeply connected to the Jansenist movement and the circle of the Port-Royal monastery. This affiliation explains why he was commissioned to execute portraits of personalities from the ecclesiastical theological field and sympathizers of the movement, such as Jean Mesnard de La Noë.
EDITOR / PUBLISHED :
Michel Odieuvre (1687–1756)
La inscripción del pie de imprenta («Paris chez Odieuvre, M.d d'Estampes, Quay de l'Ecole...») identifica al editor de la lámina: Michel Odieuvre, una de las figuras más influyentes en el comercio, publicación y edición de estampas de retratos en la Francia del siglo XVIII.
The imprint inscription ("Paris chez Odieuvre, M.d d'Estampes, Quay de l'Ecole...") identifies the publisher of the print: Michel Odieuvre, one of the most influential figures in the trade, publication and editing of portrait prints in 18th century France
MEDIDAS / MEASURES :
Hoja / Sheet : 20 x 14 cm
Huella de la plancha / Cubette - Plaque : 10 x 15 cm
TÉCNICA / TECHNIQUE:
El grabado responde al estándar de producción calcográfica de retratos franceses de la primera mitad del siglo XVIII, utilizando una combinación clásica de aguafuerte y buril sobre plancha de cobre.
Técnica: Destacó en la técnica del grabado a buril y aguafuerte sobre cobre. Se especializó en la reproducción de retratos eclesiásticos y aristocráticos, así como en composiciones religiosas y alegóricas.
The engraving adheres to the standard of French chalcographic portrait production from the first half of the 18th century, using a classic combination of etching and burin on a copper plate.
Technique: He excelled in the techniques of burin engraving and etching on copper. He specialized in the reproduction of ecclesiastical and aristocratic portraits, as well as religious and allegorical compositions.
MATERIAL:
Papel verjurado de trapo (Vergé): Fabricado mediante tina a base de trapos de lino y algodón sumergidos en agua con cola vegetal. Presenta la textura reticular característica, visible al trasluz mediante pontus (líneas gruesas verticales) y corondeles (líneas finas horizontales).
Laid rag paper (Vergé): Manufactured using a vat of linen and cotton rags soaked in water with vegetable glue. It has a characteristic reticulated texture, visible when held up to the light through pontus (thick vertical lines) and corondeles (thin horizontal lines).
PERIODO / PERIOD :
Barroco tardío francés / Época Régence.
Late French Baroque / Régence period.
FECHA DE ESTAMPACIÓN / STAMPING DATA :
Primera mitad del siglo XVIII ( c. 1717–1730 )
First half of the 18th century ( c. 1717–1730 )
ESCUELA / SCHOOL :
Escuela francesa / French School
CATÁLOGO / CATALOGUE :
