A Double-Sided Drawing Brings a Baron to Life

Jean-Étienne Liotard used an unusual technique to illuminate an 18th-century portrait of the Baron de Lubières

Pastel drawing of the profile of a man with a white wig, fancy dress, and fur muff

Portrait of Charles Benjamin de Langes de Montmirail, Baron de Lubières, about 1760, Jean-Étienne Liotard. Graphite, pastel with stumping, and red gouache, 8 11/16 x 7 3/16 in. Getty Museum, 2004.75

By Alessandra Nardi

Dec 07, 2015

Social Sharing

Body Content

Walking through the installation of pastels and drawings by Jean-Étienne Liotard at the J. Paul Getty Museum, you might be surprised to discover an unusual technique displayed in the Portrait of Charles Benjamin de Langes de Montmirail, Baron de Lubières.

This drawing, depicting a Swiss historian and man of letters, is exhibited in a special double-sided frame that allows you to see the front and back—recto and verso—of the sheet.

On the recto, the Baron de Lubières is fashionably attired, with his hands enveloped in a warm fur muff. The verso, which usually remains unseen to viewers, is covered in swaths of colors.

Verso Artistry

After drawing the basic outlines of the composition with black chalk, Liotard turned over the thin sheet of cream-colored paper, held it against a light source—perhaps a window—and traced the design onto the back, again using a stick of black chalk. Next, he covered areas of the verso with more black chalk, red chalk, and pastels.

Outline drawing of the profile of a seated man, with solid red face and black coat and hair

Verso of Portrait of Charles Benjamin de Langes de Montmirail, Baron de Lubieres

When viewing the front of the drawing, these broadly applied colored chalks are visible, creating delicate tones in the finely detailed composition. The red on the back is particularly effective in rendering the subtle variations of the baron’s skin tone. The double-sided technique, the light palette, and the vivacity and freshness of the entire composition produce a rich and compelling image.

Close up of a drawing of the face of a man with a white wig

Pastel on the verso (back) of the drawing is visible in the baron’s skin tones.

The Ivory Tradition

Liotard derived this artistic method from the miniature ivory painting tradition. In the 18th century, artists created miniature portraits on ivory with watercolor. As the technique developed, the ivory sheets became so thin that they were almost transparent. To make use of this translucency, artists would sometimes apply a silver foil on the back of the portrait to reflect light and give the sitter an almost glowing appearance.

Truly an innovator, Liotard was the first artist to adapt this technique from miniature ivory painting to traditional drawing. In the process, he made a name for himself as one of the 18th century’s most accomplished and sophisticated portraitists.

Back to Top

Stay Connected

  1. Get Inspired

    A young man and woman chat about a painting they are looking at in a gallery at the J. Paul Getty Museum.

    Enjoy stories about art, and news about Getty exhibitions and events, with our free e-newsletter

  2. For Journalists

    A scientist in a lab coat inspects several clear plastic samples arrayed in front of her on a table.

    Find press contacts, images, and information for the news media