Donat Nonotte, a significant figure in eighteenth-century French art, carved a notable career primarily as a portraitist and historical painter. Born in Besançon in 1708 and passing away in Lyon in 1785, Nonotte's life and work spanned a vibrant period of artistic development in France, witnessing the flourishing of the Rococo style and the nascent stirrings of Neoclassicism. His journey from provincial training to recognition by the Royal Academy in Paris, and his subsequent influential role in Lyon, paints a picture of a dedicated artist who contributed meaningfully to the artistic fabric of his time.
Early Life and Artistic Formation
Donat Nonotte's artistic journey began in his birthplace, Besançon, a city with its own rich cultural heritage. His initial instruction in the fundamentals of drawing and painting came from his uncle, Jean Nonotte. This familial introduction to art provided a foundation upon which his later, more formal training would build. Like many aspiring artists of his generation, Nonotte recognized that Paris was the epicenter of artistic innovation and patronage in France.
Seeking to further his skills, Nonotte made the pivotal move to Paris. There, he had the distinct advantage of becoming a pupil of François Lemoyne (1688-1737). Lemoyne was one of the preeminent French painters of the early Rococo period, celebrated for his large-scale historical and mythological compositions, his vibrant palette, and his graceful, elongated figures. Studying under Lemoyne exposed Nonotte to the prevailing tastes of the French court and aristocracy, and instilled in him the technical proficiency required for ambitious decorative schemes and refined portraiture. Lemoyne's studio was a crucible of talent, also training other notable artists such as Charles-Joseph Natoire and François Boucher, who would become leading figures of the Rococo.
Patronage and Early Commissions
A crucial element in the career of any eighteenth-century artist was securing influential patronage. Donat Nonotte found such support in the figure of the Duc d'Antin, Louis Antoine de Pardaillan de Gondrin, who served as the Superintendent of Royal Buildings (Surintendant des Bâtiments du Roi). This position gave the Duc d'Antin considerable influence over royal commissions and artistic appointments. His backing was instrumental in launching Nonotte's career, particularly as a historical painter.
Under this auspicious patronage, Nonotte received opportunities to contribute to significant decorative projects. His early oeuvre included work on murals and ceiling paintings within the opulent Palace of Versailles, the ultimate symbol of French royal power and artistic magnificence. He also participated in the decoration of important Parisian churches, such as Saint-Sulpice and Saint-Thomas-d'Aquin. These commissions would have involved creating large-scale religious or allegorical scenes, demanding not only artistic skill but also an understanding of iconographic traditions and the ability to work within grand architectural spaces. During this period, Nonotte also reportedly assisted his master, François Lemoyne, on some of his major undertakings, including Lemoyne's celebrated ceiling of the Hercules Salon in Versailles, a testament to the trust Lemoyne placed in his student's abilities.
Emergence as a Celebrated Portraitist
While Nonotte engaged in historical painting, it was his talent for portraiture that truly brought him widespread recognition and solidified his reputation. He possessed a keen ability to capture not only the likeness of his sitters but also a sense of their character and social standing. His portraits were characterized by an elegance and a refined execution that appealed to the tastes of his clientele.
A significant milestone in his career came with his portraits of the engraver Sébastien Leclerc the Younger (son of the more famous Sébastien Leclerc) and the painter Pierre Dulin. These works, likely submitted as his reception pieces, earned him admission into the prestigious Royal Academy of Painting and Sculpture (Académie Royale de Peinture et de Sculpture) in 1741. Membership in the Academy was a mark of high distinction and provided artists with the invaluable opportunity to exhibit their works regularly at the Salon, the official art exhibition in Paris. Regular participation in the Salon ensured visibility and access to potential patrons. Nonotte became a consistent exhibitor, further enhancing his profile as a sought-after portraitist.
His portrait style, while rooted in the detailed observation typical of French portraiture, also incorporated the graceful lines and sophisticated charm of the Rococo. He adeptly rendered the luxurious fabrics and intricate details of contemporary fashion, elements that were highly valued by his sitters.
The Lyon Period and Official Recognition
In 1754, Donat Nonotte made a significant life change, relocating from the bustling artistic hub of Paris to Lyon. Lyon, a prosperous city renowned for its silk industry, had a thriving cultural scene and a wealthy bourgeoisie eager for artistic services, including portraiture. Nonotte quickly established himself within Lyon's artistic community.
His reputation and skill did not go unnoticed by the city's authorities. In 1762, he was honored with the title of "Peintre officiel de la ville de Lyon" (Official Painter of the City of Lyon). This appointment was a testament to his standing and provided him with a degree of official status and likely further commissions. In Lyon, Nonotte continued to be active as a painter, particularly of portraits, serving the local elite.
Beyond his own artistic production, Nonotte played an important role as an educator in Lyon. He was associated with the École Royale de Dessin (Royal School of Drawing) in the city, where he taught and mentored aspiring artists. His experience in Paris and his academic credentials made him a valuable instructor.
Notable Students and Influence as a Teacher
Donat Nonotte's legacy extends to the artists he trained. His role as an educator, both informally in Paris and more formally in Lyon, contributed to the development of the next generation of painters.
Among his most distinguished pupils was Jean-François Hubert Drouais (often referred to as François-Hubert Drouais, 1727-1775). Drouais went on to become a highly successful portrait painter in his own right, eventually succeeding Nonotte as a fashionable portraitist in Paris and enjoying the patronage of the royal family, including Madame de Pompadour and later Madame du Barry. Drouais's style, while evolving, initially bore the imprint of his master's elegant approach.
Another notable individual connected to Nonotte's teaching in Lyon was Joseph Chinard (1756-1813). Though primarily known as a sculptor, Chinard, the son of a Lyon silk merchant, received his early artistic training at the École Royale de Dessin in Lyon, where Nonotte was a prominent instructor. It's documented that Chinard faced financial hardship in his youth, and it's plausible that Nonotte, as a respected teacher at the institution, would have been a guiding figure during Chinard's formative years. Chinard later achieved considerable fame for his Neoclassical sculptures, particularly his terracotta portraits.
Nonotte's commitment to teaching demonstrates a dedication to fostering artistic talent, ensuring the transmission of skills and knowledge that were vital to the continuity of the French artistic tradition.
Artistic Style and Rococo Sensibilities
Donat Nonotte's artistic style is firmly situated within the French Rococo. His work reflects the period's emphasis on elegance, charm, and a certain lightness of touch, particularly evident in his portraiture. Influenced by his master François Lemoyne, Nonotte's paintings often display a refined palette, smooth brushwork, and a careful attention to the rendering of textures, especially in fabrics and accessories.
His portraits aim for a graceful representation of the sitter, often imbuing them with an air of sophistication and poise. While perhaps not as overtly flamboyant as some of his contemporaries like François Boucher, Nonotte's work possesses a dignified charm. He balanced the need for accurate likeness with the prevailing aesthetic demands for idealized beauty and elegance.
In his historical and religious paintings, undertaken more frequently in his earlier career, he would have adhered to the academic principles of composition and narrative clarity, likely infused with the decorative dynamism characteristic of Lemoyne's grand manner. The Rococo's preference for curvilinear forms, asymmetrical compositions, and themes of love, mythology, and pastoral life would have informed his approach, even within more traditional genres.
Key Contemporaries and the Artistic Milieu of 18th-Century France
Donat Nonotte practiced his art during a period rich with talent in France. Understanding his work benefits from considering the broader artistic landscape and the painters with whom he shared this era.
His teacher, François Lemoyne (1688-1737), was a towering figure whose influence shaped a generation. Lemoyne's grand decorative schemes, such as the Hercules Salon ceiling at Versailles, set a standard for Rococo ambition.
Fellow students in Lemoyne's studio included Charles-Joseph Natoire (1700-1777) and François Boucher (1703-1770). Natoire became a successful history painter and director of the French Academy in Rome, known for his mythological and allegorical works. Boucher, perhaps the quintessential Rococo artist, excelled in mythological scenes, pastoral landscapes, and portraits, eventually becoming First Painter to the King. Nonotte would have been intimately familiar with their developing styles and careers.
Carle Van Loo (Charles-André van Loo, 1705-1765) was another dominant figure, highly versatile and successful in various genres, including history painting, portraiture, and exotic scenes. He held prominent positions within the Academy and enjoyed extensive royal patronage.
In the realm of portraiture, Nonotte's contemporaries included specialists like Jean-Marc Nattier (1685-1766), famous for his allegorical portraits of court ladies, often depicted as mythological figures. Louis Tocqué (1696-1772), Nattier's son-in-law, was also a highly respected portraitist known for his direct and psychologically astute likenesses.
The field of pastel portraiture was dominated by luminaries such as Maurice Quentin de La Tour (1704-1788), whose vibrant and psychologically penetrating pastels captured the elite of French society, and his rival Jean-Baptiste Perronneau (1715-1783), who also worked in oils and produced sensitive and less formal portraits.
Other notable painters of the era include Jean-Baptiste Oudry (1686-1755), renowned for his animal paintings, still lifes, and hunt scenes, and who also served as a director of the Beauvais and Gobelins tapestry manufactories. Hyacinthe Rigaud (1659-1743) and Nicolas de Largillière (1656-1746), though of an earlier generation, had established the grand tradition of French Baroque portraiture, the influence of which still resonated.
Later in Nonotte's career, artists like Jean-Honoré Fragonard (1732-1806), a student of Boucher, pushed the Rococo style to its most exuberant and sensuous limits. Simultaneously, figures like Jean-Baptiste Greuze (1725-1805) gained popularity with their sentimental and moralizing genre scenes, signaling a shift in taste that would eventually lead to the rise of Neoclassicism, championed by artists such as Jacques-Louis David (1748-1825), whose career was ascending as Nonotte's was concluding. Nonotte's student, François-Hubert Drouais, bridged some of this gap, adapting his style to evolving tastes.
This vibrant and competitive artistic environment provided the backdrop against which Donat Nonotte forged his career, interacting with, learning from, and contributing alongside these distinguished talents.
Representative Works
While a comprehensive catalogue of Donat Nonotte's works may be dispersed, certain pieces are highlighted as representative of his skill.
The portrait of Eleanor Vandeleur, painted around 1760, is cited as an example of his mature portrait style. One would expect this work to showcase the elegance and refined characterization typical of his portraiture from this period, likely depicting the sitter in fashionable attire with an air of gentle sophistication. Such a portrait would aim to convey both individual likeness and social status, key requirements for patrons of the time.
Another significant work is his portrait of Pierre de Rigaud de Vaudreuil de Cavagnial, Marquis de Vaudreuil (1698-1778). The Marquis de Vaudreuil was a notable figure, serving as the last Governor-General of New France (Canada). A portrait of such a prominent colonial administrator would have been an important commission, requiring a depiction that conveyed authority and dignity. Nonotte's portrayal would likely have emphasized Vaudreuil's official capacity, perhaps including attributes of his station or allusions to his service.
His early works, the murals and ceiling paintings for the Palace of Versailles, and decorations for the churches of Saint-Sulpice and Saint-Thomas-d'Aquin in Paris, though perhaps less individually famed today, were crucial in establishing his reputation for large-scale decorative work. These would have been complex compositions, demonstrating his mastery of perspective, anatomy, and narrative, learned under Lemoyne.
The portraits of Sébastien Leclerc and Pierre Dulin, his reception pieces for the Royal Academy, were pivotal for his career. These works would have been scrutinized by his peers and were instrumental in his official acceptance into the highest echelons of the French art world. They would have needed to display exceptional technical skill and artistic merit.
Legacy and Conclusion
Donat Nonotte occupies a respectable place in the annals of eighteenth-century French art. While perhaps not as revolutionary as some of his more flamboyant contemporaries, he was a highly skilled and successful painter who excelled in portraiture and contributed to the tradition of historical and decorative painting. His ability to capture a likeness with elegance and refinement ensured a steady stream of commissions throughout his career.
His early training under François Lemoyne and his association with the Duc d'Antin provided him with a strong foundation and crucial early opportunities. His membership in the Royal Academy and his regular participation in the Salon cemented his status within the Parisian art world.
The latter part of his career in Lyon, marked by his appointment as "Official Painter of the City," demonstrates his continued artistic activity and influence beyond the capital. His role as an educator, both in Paris and Lyon, was also significant, contributing to the training of notable artists like François-Hubert Drouais and Joseph Chinard.
Donat Nonotte's art reflects the prevailing tastes of the Rococo era, an age that valued grace, charm, and technical polish. His portraits serve as valuable visual documents of the personalities and societal norms of his time. He navigated the competitive art world of eighteenth-century France with diligence and talent, leaving behind a body of work that merits appreciation for its skill and its embodiment of a distinct period in French cultural history. His career illustrates the path of a successful academic painter who, through dedication and skill, earned a distinguished place among his peers.
