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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.

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