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The Metropolitan Museum of Art Bulletin, v. 29, no. 7 (March, 1971)

The Metropolitan Museum of Art Bulletin, v. 29, no. 7 (March, 1971)

The Metropolitan Museum of Art Bulletin, v. 29, no. 7 (March, 1971)

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"A Young Man Impatient<br />

to<br />

Distinguish Himself"<br />

<strong>The</strong> VJcomte de Noail/es as Portrayed by Gilbert Stuart<br />

JOHN K. H OWAT<br />

Curator <strong>of</strong> American Paintings and Sculpture<br />

T HE METROPOLITAN MUSEUM recently purchased an extremely beautiful,<br />

important, and intriguing addition to its collection <strong>of</strong> American portraiture,<br />

a previously undiscovered full-length portrayal <strong>of</strong> Louis-Marie, Vicomte de<br />

Noailles (shown in color on the back cover), painted in Philadelphia during 1798<br />

by Gilbert Stuart. It was the Vicomte, representing the French troops under<br />

General Rochambeau, who, in partnership with Colonel Laurens, representing<br />

General Washington, negotiated with the British on October 20, 1781, prior to<br />

the surrender the following day at Yorktown. This recollection is an agreeable<br />

one to Americans as we await the bicentennial <strong>of</strong> the country, but the Vicomte's<br />

martial activities at and before Yorktown were only a small part <strong>of</strong> his flirtation<br />

with history.<br />

<strong>The</strong> Vicomte today seems to fulfill a past generation's ideal <strong>of</strong> the dashing adventurer<br />

who combines high birth, intelligence, liveliness, charm, idealism, and<br />

courage with a driving thirst for glory that finally entices him to a patriotic death.<br />

His political changeability from ancien regime aristocrat to Revolutionary politician<br />

to emigre Royalist to Napoleonic warrior might detract from the perfect<br />

picture <strong>of</strong> the ideal adventurer, but it should <strong>no</strong>t be forgotten that his more<br />

famous contemporary and acquaintance, Tallyrand, provided a dazzling model<br />

<strong>of</strong> a political gymnast. Political activity, after all, may well be defined as the art<br />

<strong>of</strong> compromise and survival in the furtherance <strong>of</strong> certain ideals, and <strong>of</strong> life itself.<br />

Louis-Marie, Vicomte de Noailles, was born in Paris, April 17,1756, the second<br />

son <strong>of</strong> the Duc de Mouchy, a marshal <strong>of</strong> France and member <strong>of</strong> one <strong>of</strong> France's<br />

most <strong>no</strong>ble families, which has produced numerous distinguished diplomatic,<br />

literary, and military figures. Noailles was raised and trained by his father to be a<br />

military man. With his marriage in 1773 to a daughter <strong>of</strong> the Duc d'Ayen, Noailles<br />

became brother-in-law to the Marquis de Lafayette, and with Lafayette and their<br />

youthful contemporary and relative Louis-Philippe, Comte de Segur, he was a<br />

ranking member <strong>of</strong> Marie-Antoinette's extravagant and coquettish court that<br />

foregathered at the Epee de Bois, a country cabaret near her country retreat at<br />

Les Porcherons. <strong>The</strong> Vicomte apparently distinguished himself there as a heavy<br />

drinker in the newly imported English style, and for his "manly accomplishments."<br />

According to Segur's Memoires, ou Souvenirs et Anecdotes, published<br />

in the 1820s:<br />

327<br />

<strong>The</strong> <strong>Metropolitan</strong> <strong>Museum</strong> <strong>of</strong> <strong>Art</strong><br />

is collaborating with JSTOR to digitize, preserve, and extend access to<br />

<strong>The</strong> <strong>Metropolitan</strong> <strong>Museum</strong> <strong>of</strong> <strong>Art</strong> <strong>Bulletin</strong> ®<br />

www.jstor.org

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