Madame de Pompadour: The Power of Colour in 18th-century France
Figure 1: François Boucher, Madame de Pompadour, 1759, oil on canvas, 91 x 68 cm, Wallace Collection, London
Image Credit: Wallace Collection, London
Jeanne-Antoinette Poisson (1721-1764), popularly known as the marquise Madame de Pompadour, was a significant figure in the court of King Louis XV (1710-1774) as his maîtresse-en-titre, or royal mistress, from 1745-1764. During her time at court, she transitioned from an intimate lover to a trusted friend and confidant of the King. Her ability to sustain her position for 19 years leads to the argument that Madame de Pompadour was not only a successful royal mistress but also an arbiter of taste and an innovative patron of the arts, greatly influencing French artistic identity.
Pompadour was a strategic political figure and visionary patroness whose aesthetic sensibilities left a mark on 18th-century France. Among her many talents, she masterfully harnessed the evocative power of colour to craft her public image and assert her authority in the visually driven culture of the French court. She popularised distinct hues, such as Fond Vert (a striking teal green) and Pompadour Pink, which became synonymous with her identity, reflecting elegance and modernity while solidifying her role as a cultural innovator and icon. Her ascent to court was marked by her charm, intelligence, and an unerring eye for beauty, making her one of the most influential women of her time.
The Role of Colour in the Rococo Period
In 18th-century France, colour in the Rococo period was integral to its identity, serving as both an aesthetic and cultural signature across art, fashion, architecture, and design. Marking a departure from the darker, dramatic palette of the Baroque style (1590-c.1725), Rococo embraced hues that evoked romance, delicacy, opulence, and delight. Within the French court and its artistic expressions, colour transcended decoration and became a powerful tool to convey status, emotion, and taste.
The Rococo style is defined by a palette of soft pastels, including delicate pinks, blues, greens, and creamy whites, often complemented by gilded accents. These colours were central to the creation of the whimsical and playful nature of Rococo art, infused with a sense of lightness, elegance, and vitality. The use of pastels served to soften the visual experience, as well as to establish an atmosphere of intimacy, enchantment, and escapism, reflecting the period’s emphasis on refinement and aristocratic leisure.
Figure 2-3
[Left]: François Boucher, Rape of Europa, c.1732-4, oil on canvas, 230.8 x 273.5 cm
[Right]: Jean-Honoré Fragonard, The Swing, c.1767-8, oil on canvas, 81.8 x 64.8 cm
Image Credit: Wallace Collection, London
Colour became a powerful tool to evoke emotional responses due to the profound sensory impact of Rococo interiors, fashion, and artworks. Artists like François Boucher (1703-1770) and Jean-Honoré Fragonard (1732-1806) expertly employed this palette, demonstrating how colour serves as an essential medium for expressing the emotional depth (Figures 2 and 3). Through their works, they transformed the concept of aristocratic grandeur and sensuality into fantastical, dreamlike imagery that evokes feelings of passion, longing, idealized love, and sentimentality.
The question arises: How did Madame de Pompadour strategically use her patronage of specific colours in artworks to assert her courtly power and reinforce her status at court, and what does this reveal about her success as a royal mistress?
A “Femme Savante” in the Royal Court
Unlike previous French royal mistresses, who often hailed from powerful aristocratic or wealthy families, Pompadour came from a middle-class bourgeois background. Becoming a royal mistress elevated her social rank and provided financial prosperity, opportunities rare for women born into humble circumstances. Through her guardian, Charles-François Paul Le Normant de Tournehem (1684-1751), Pompadour was able to receive a well-rounded education in dancing, art, singing, theatre, literature, and elocution from renowned figures in each discipline–an education that was typically reserved for aristocratic women, not those from the bourgeois class.
Court culture at Versailles was defined by the interchangeability of private and public personas. Success at court depended on one’s ability to navigate these spheres. Pompadour embraced the identity of a “femme-savante,” a learned and cultured woman of the arts and letters, effectively blending her private and public selves with intellectual authority that she cultivated.
In the 18th century, the term “femme savante” did not yet exist in the French dictionary. It was only with the publication of the Encyclopédie, which Pompadour sponsored, that the recognition of learned women “in civilized society” began to emerge (Goodman 2000: 4).
Pompadour’s education and engagement in intellectual spheres were reflected in portraits like the one in the Louvre Collection (Figure 4), which showcases her cultivated persona in the setting of her private study.
Figure 4: Maurice-Quentin de la Tour, La marquise de Pompadour, 1752-1755, pastel and gouache on paper and canvas, 177 x 130 cm
Image Credit: Louvre Museum, Paris
However, resistance to the idea of intellectual women persisted. Women of intellectual nature were advised not to boast about their knowledge and to avoid overtly presenting themselves as “learned ladies” to prevent intimidating their male counterparts (Nicolle 1980: 76). Pompadour, aware of this resistance, employed iconography–using images and symbols–and carefully selected colours in the visual arts to subtly communicate her esteemed intellect.
Her self-representation through the arts was an extension of her understanding of the politics of her role as royal mistress. Pompadour articulated her devotion to the king in a letter to Foreign Minister Duc de Choiseul on 28 June 1755, stating that her primary objective at court was “[to work for] the glory of the King” (Berly 2014: 254). Pompadour was raised to be the ideal royal mistress, and she pushed the boundaries of her role to benefit not only herself but also, as she claimed, the King and France.
Contextualising Success as a Royal Mistress
Success as a French royal mistress in the 18th century involved more than sexual prowess, beauty, and companionship; it required navigating societal expectations and political dynamics. Royal mistresses were integral to the king’s magnificence and often served as extensions of his power. However, they had to balance this role within the constraints of societal norms that viewed women as inferior, limiting their recognised capabilities to narrowly defined social roles.
Madame de Pompadour’s engagement with the arts and letters was a direct response to these challenges. Unlike previous royal mistresses such as Madame de Montespan (1640-1707) and Madame de Maintenon (1635-1719), whose patronage was notable, Pompadour’s approach was distinct in both scale and purpose. Her patronage was not merely ornamental; it was central to her political strategy.
Her decisions to support the arts and commission works were driven by her desire to retain royal favour and to highlight her intellectual and cultural contributions. This nuanced approach allowed her to navigate the complexities of her position, balancing the expectations of being a mistress with the intellectual pursuits befitting a “femme savante.”
With this understanding of Pompadour's intellectual and political strategy, we can now explore how her patronage of the arts, specifically through colour, served as a subtle yet powerful tool for consolidating her influence.
From Vincennes to Sèvres
The Vincennes manufactory, established in 1748 at the Château de Vincennes, was founded with the intent of competing with the porcelain markets of Asia, Meissen, and other European porcelain centres. From its inception, Madame de Pompadour was a key patron, commissioning soft-paste porcelain objets d’art. Her active involvement led her to persuade Louis XV to recapitalise a portion of the manufacturer's shares in 1751, a move that also indirectly benefited her financially.
Figure 5: Achille Etna Michallon, Sketch of the Manufacture Nationale de Sèvres, 1817
Image Credit: Mayfair Gallery, London
In 1756, Pompadour successfully convinced the king to relocate the manufactory from Vincennes to Sèvres, closer to her Bellevue château and Versailles. This relocation was pivotal in transforming the manufactory into La Manufacture Royale de Porcelaine (the Royal Manufacture of Porcelain) (Figure 5). The move also made it more accessible to royal, aristocratic, and foreign clients.
The manufactory’s relocation and royal sponsorship marked the beginning of Pompadour’s most influential years (1756-1760). During this period, she skilfully leveraged the power of colour to enhance her presence at court. Distinct hues developed at Sèvres, such as Fond Vert and Pompadour Pink, became synonymous with her. These shades featured prominently in both the manufactory’s creations and her renowned portraits, including the Munich Portrait (1756) and Madame de Pompadour at her Toilette (1750) by François Boucher.
Pompadour also commissioned Sèvres porcelain pieces as diplomatic offerings and political gestures. Decorated with Fond Vert and Pompadour Pink, these objects showcased the Rococo aesthetic and unmatched craftsmanship. They served as symbols of French innovation and elegance, helping to strengthen alliances and advance her standing within France and abroad.
Fond Vert: The Emergence of the Colour Green at Sèvres
Teal green porcelain, known as Font Vert (green ground), was introduced in 1756 and quickly became one of the defining features of mid-18th-century Sèvres porcelain.
The colour was developed by chemist Jean Hellot (1685-1766), who, with royal permission, was allowed to experiment with materials and techniques to create new colours. Fond Vert was primarily made using copper oxide, which, when finely ground and combined with stabilizing agents like calcium carbonate, produced the striking greenish-teal hue when fired in a kiln at high temperatures.
Figure 6: Sèvres Porcelain Manufactory, Pot à Sucre Hébert, c.1756. Soft paste porcelain, white ground and gilded decoration, 10.2 x 9.0 cm
Image Credit: Royal Collection Trust, London
An early example of this stunning colour is the Pot à sucre Hébert (sugar pot) (Figure 6), crafted at the manufactory in c.1756. This piece’s Fond Vert glaze offers a sense of organic opulence, reflecting the Rococo period’s fascination with vivid, nature-inspired tones. Fond Vert harmonised with the playful yet elegant aesthetic of the time, illustrating how colour was integral to Rococo design, taste, and the broader visual culture of the era.
Pompadour Pink: A Colour with Legacy
Pompadour Pink, also known as Rose Pompadour or Fond Rose (pink ground), was developed around 1757 also by Jean Hellot and has since become one of the sole-defining colours of the Rococo period.
The distinctive pink hue was created through the careful manipulation of copper-based compounds. Hellot’s process involved combining copper oxide with lead and other stabilizing agents, resulting in a stable, vibrant glaze. Small amounts of gold chloride were added to impart the colour with warm undertones, giving its rich appearance.
Although not immediately named after her, Pompadour Pink became increasingly associated with Madame de Pompadour overtime. It wasn’t until the 1760s that the term “Pompadour Pink” was coined in England. While France was the epicentre of 18th-century art and fashion, Pompadour’s impact transcended borders.
Figure 7: Sèvres Porcelain Manufactory, Covered Jug and Basin, 1758. Soft-paste porcelain painted and gilded with a silver-gilt thumbpiece
Image Credit: Wallace Collection, London
A prime example of Pompadour Pink can be found in the Covered Jug & Basin, dated 1758.
Likely purchased by Louis XV at the end of that year, this exquisite piece showcases the mastery of the manufactory in producing the radiant pink hue. While at the time the marquise and the King’s relationship was no longer sexual, the acquisition of such a piece symbolises his desire to be reminded of her in his daily life. By frequently commissioning pieces in this colour, the King set a standard of aesthetic taste that the court and foreign nations would follow, inadvertently strengthening Pompadour’s presence.
Colour as a Tool for Influence and Prestige
Madame de Pompadour’s tactical use of colour extended beyond aesthetics; it was a calculated effort to reinforce her political influence and maintain her position at court. By associating herself with colours like Pompadour Pink and Fond Vert, she created a recognisable visual brand that helped her thrive within the complex social and political structure of the French court.
Figure 8: François Boucher, Pompadour at Her Toilette, 1750 (with later additions); oil on canvas, 81.2 x 64.9 cm
Image Credit: Fogg Museum, Harvard Art Museums
Interestingly, Madame de Pompadour’s 1750 portrait, Pompadour at her Toilette (Figure 8), predates the development of Pompadour Pink by seven years. In this captivating image, she is adorned with bright pink ribbons, vivid pink cheeks as she applies her rouge, and a Louis XV cameo bracelet set against a soft pink background.
Captured in an intimate moment of self-care, she exudes soft femininity and refinement, seamlessly blending the personal, traditional ritual of the toilette with a carefully curated image of elegance. This balance of Rococo aesthetic and aristocratic social practice portrays her as both relatable and regal. By incorporating pink in this personal yet dignified context, Pompadour establishes the colour as part of a recognisable palette.
Pompadour’s toilette also served as an important space for receiving diplomats, ambassadors, generals, and courtiers of varying status. These morning rituals became an opportunity for her to conduct nuanced political exchange, granting or denying favours, and relaying requests to the King.
The inclusion of Louis XV's cameo within a pink setting serves as a deliberate reminder of her enduring relationship with the King. Even though her relationship with him became purely platonic in 1750, the portrait asserts her continued significance in his life. This painting subtly communicates the narrative that Madame de Pompadour = Pink, and by extension, pink signifies her undying loyalty to the King of France.
Figure 9: François Boucher, Munich Portrait, 1756, oil on canvas, 212 x 164 cm
Image Credit: Alte Pinakothek, Munich
The Munich Portrait (Figure 9) of Madame de Pompadour (1756), is one of the few portraits of Pompadour displayed in a public exhibition. It was shown at the Salon of 1757, occupying a prominent position among royal portraiture.
In this image, Pompadour is dressed in a voluminous robe à la française in a vibrant teal green shade, mirroring Fond Vert (coincidentally introduced that same year the painting was created). This connection between the gown and the colour creates a cohesive image that accentuates her representation as a powerful woman, a femme savante, and a prominent patron of the royal porcelain manufactory, whose success was directly linked to Pompadour’s authority.
The painting commemorates Pompadour’s appointment as dame du palais (lady-in-waiting) to Queen Maria Lesczyńska (1703-1768), the highest rank the marquise could receive. Her gown deviates from the traditional black and lace attire prescribed for formal presentations to the Queen and embraces a more stylised courtly fashion to signify her elevated status.
Contemporaries likened this painting to a “coronation portrait,” despite her gown bearing no resemblance to the gold, white, and blue robes traditionally associated with such imagery. Instead, the Fond Vert gown serves as a metaphorical coronation dress, symbolising her ascension in court hierarchy. By wearing this colour, similar to the Sèvres porcelain she often commissioned, Pompadour positions herself as a tastemaker and arbiter of refinement at Versailles. This regal portrait thus became intrinsically tied to her public image, with the teal green hue serving as an emblem and signature that embodied her status and unparalleled influence.
Porcelain
Madame de Pompadour used Sèvres porcelain as a diplomatic tool, gifting it to foreign powers, dignitaries, and court officials to strengthen alliances and maintain her standing. As a former bourgeois and a woman in a position of power, she faced intense scrutiny from the nobility and public, who often blamed her for France’s failures, particularly during the Seven Years’ War (1756-1763). Nevertheless, Pompadour personally funded many of these diplomatic gifts, using them to help bolster her and the country’s political eminence.
In 1759, she sent four pieces of Fond Vert porcelain to Foreign Minister Duc de Choiseul ahead of the annual Sèvres sales to promote new colours and designs. These sales, hosted by her and Louis XV during the weeks of Christmas and New Year in the Petits Appartements, showcased the manufatory’s latest innovations. Pompadour also promoted Sèvres porcelain at the King’s formal dinners, declaring that it would be unpatriotic not to purchase pieces if one could afford them.
Figure 10: Sèvres Porcelain Manufactory, Porcelain Plate from the Service Presented by Louis XV to Empress Maria-Theresa of Austria (Assiette a Guirlandes), c.1758. Soft-paste porcelain painted and gilded, 25.1 cm
Image Credit: Christie’s, New York
A remarkably significant diplomatic gesture was the 1758-1759 gift of a nearly 200-piece dinner and dessert service, decorated with à rubans verts (Fond Vert intertwined ribbons), to Empress Maria-Theresa of Austria (1717-1780) (Figure 10). Officially a gift from Louis XV, the use of Fond Vert points directly to Pompadour’s influence. The Empress’s well-documented fondness for Pompadour underscores the symbolic importance of this extraordinary set, which represents both a political alliance between France and Austria and the marquise’s diplomatic skill. As the most expensive Sèvres porcelain ever given as a diplomatic gift, this dining service, with its distinctive Fond Vert design, highlights Pompadour's pivotal role in shaping French artistry as a tool of international relations.
Figure 11-13: Sèvres Porcelain Manufactory
[Left]: Pink Pot-pourri vase, 1758. Soft-paste porcelain painted and gilded, 44.8 x 37.5 x 19.4 cm
[Centre]: Fond Vert/Green Pot-pourri vase, c.1761. Soft-paste porcelain painted and gilded, 44.1 x 36.9 cm
[Right]: Pink & Green “Ship” Pot-pourri, c.1760. Soft-paste porcelain painted and gilded, 37 x 33.5 cm
Image Credit: Wallace Collection, London/The Met, New York/Louvre, Paris
Pompadour’s signature colours were also featured in her most iconic and expensive porcelain commissions: the pot-pourri vases in the “à vaisseau” style (Figures 11-13), designed by Jean-Clause Duplessis (c.1695-1774). While pot-pourri vessels had already existed, Pompadour transformed them into symbols of refined taste and artistic innovation, especially in Fond Vert and Pompadour Pink. Produced between 1757 and 1764, these vases–shaped like masted ships and decorated with intricate pierced trelliswork (à carreaux)—combined artistry with patriotic sentiment, blending beauty and power in their design.
Only ten examples are known, with four in Fond Vert and/or Pompadour Pink, a testament to the importance of these colours. Her unwavering dedication to the Sèvres manufactory, even at times of economic hardship during the war, safeguarded the livelihoods of its craftspeople while producing expensive pieces like the pot-pourri à vaisseau. By commissioning these vases in her recognisable hues, Pompadour harnessed the power of colour to align herself with French politics, leveraging them as subtle tools of propaganda and expressions of national pride. These inherently political objects perfectly exhibit her embrace of the role of “unofficial ambassador for France,” signalling her commitment to maintaining France’s artistic reputation.
A Lasting Impact
Madame de Pompadour’s legacy is inseparable from the dynamic power of colour, which she wielded with strategic finesse to shape both her public and private identities. Through hues like Pompadour Pink and Fond Vert, she defined the aesthetic of the Rococo period by cultivating a visual language that conveyed status, emotion, and authority. These colours remain forever in our consciousness, symbolising her role as a femme savante, a woman whose intellect and political acumen were as influential as her celebrated portraits and porcelain pieces.
In an era where art and politics were intertwined, Pompadour understood artistic devices at her disposal to assert her place within the court’s complex social structure. Her mastery of colour symbolism went beyond decoration—it was a tool to navigate and reshape her image, whether through portraiture, iconography, or the fashionable trends she set. These representations reflected her deep involvement in the intellectual and political currents of her time, helping to shape French identity.
By expertly refashioning herself through these visual outlets, Madame de Pompadour solidified her reputation as a woman of prestige and knowledge. Her influence on art, aesthetics, and political culture continues to resonate, ensuring that her lasting impact, embodied in those vibrant colours, remains etched in the fabric of history.
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Images
Figure 4: https://collections.louvre.fr/en/ark:/53355/cl020213445
Figure 5: https://www.mayfairgallery.com/blog/sevres-porcelain/
Figure 6: https://www.rct.uk/collection/39899/pot-a-sucre-hebert-part-of-a-tray-and-tea-service
Figure 8: https://hvrd.art/o/303561
Figure 9: https://www.sammlung.pinakothek.de/en/artwork/Dj4mX97G5A
