The Fitzwilliam Museum - University of Cambridge
The Fitzwilliam Museum - University of Cambridge
The Fitzwilliam Museum - University of Cambridge
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56<br />
Major Acquisitions<br />
Jean-Étienne Liotard<br />
(1702–1789)<br />
Laura Tarsi, dressed ‘à la Turque’<br />
c. 1740/41<br />
Watercolour and bodycolour<br />
on ivory<br />
9.7 x 7.6 cm<br />
Accepted by H.M. Government<br />
in Lieu <strong>of</strong> Inheritance Tax from<br />
the estate <strong>of</strong> the 9th Duke <strong>of</strong><br />
Rutland and allocated to the<br />
<strong>Fitzwilliam</strong> <strong>Museum</strong>.<br />
PD.9-2006<br />
Swiss by birth, Liotard was among the<br />
most cosmopolitan and well-travelled <strong>of</strong><br />
all eighteenth-century European artists,<br />
working at various times <strong>of</strong> his life in<br />
Paris, London, Rome, Constantinople,<br />
Vienna and the Netherlands. In April 1738<br />
he left Rome for Constantinople as part<br />
<strong>of</strong> the entourage <strong>of</strong> John Montagu, 4th<br />
Earl <strong>of</strong> Sandwich, and remained there<br />
until 1742, immersing himself into the<br />
local culture and, like the Earl, adopting<br />
Turkish dress. This miniature was painted<br />
around 1740–41 for John, Marquess <strong>of</strong><br />
Granby (1721–75), during his stay in<br />
Constantinople, before he returned to<br />
England at the end <strong>of</strong> 1741 to assume his<br />
seat in Parliament for the borough <strong>of</strong><br />
Grantham. <strong>The</strong> identity <strong>of</strong> the sitter is<br />
established from an inscription on the<br />
gold frame which reads ‘Laura Tarsi, A<br />
Grecian Lady’. No further details <strong>of</strong> her<br />
life have emerged to date, but it is<br />
thought that she was a member <strong>of</strong> the<br />
close-knit Greek community at Pera;<br />
family tradition has it that she was a<br />
friend, or very possibly a mistress, <strong>of</strong><br />
Granby’s. Certainly, the unusually large<br />
dimensions <strong>of</strong> the miniature and her<br />
sumptuous dress suggest that it was<br />
executed as a virtuoso performance by<br />
Liotard as the record <strong>of</strong> the appearance<br />
<strong>of</strong> a much-admired sitter.