This is very, very close to being our favourite nude representation of a girl (she was fourteen when this picture was painted) in any medium.
Mary-Louise O'Murphy de Boisfaily was the fifth daughter of an army officer of Irish extraction, Daniel O' Murphy de Boisfaily, who had taken to shoemaking after his retirement. She was born in Rouen on October 21st 1737. After her father died her mother took her to Paris where she traded in second hand clothes whilst finding work for her daughters. Mary-Louise became a dancer at L'Opera and a model. Casanova knew her (she is mentioned in his diaries) and she may have been his mistress briefly. Casanova certainly introduced her to Boucher who painted this picture of her in 1752.
It has been argued that the picture was a direct invitation to Louis XV showing that she was available to be his mistress. Rather like leaving a photographic postcard of yourself in a phone box outside a Park Lane hotel, we suppose.
Louis XV knew a fine piece when he saw it (he liked the painting too) and she quickly became one of his second tier mistresses and stayed so for two years. Louis had an official mistress, of course, Madame de Pompadour, who may have been happy at first for the king to entertain this plump little distraction as she was increasingly exhausted by Louis voracious sexual demands, to the extent that she was taking the feminine, eighteenth century version of Viagra to keep up with him. Mary-Louise bore the king an illegitimate daughter, Agathe Louise de Saint-Antoine (1754-1774), but she tried to oust Madame de Pompadour from top mistress spot and was soon kicked out of the court and married off to Comte de Beaufranchet, who must have been very cheered by this development, as Mary-Louise was still only 17. He didn't get to enjoy her for very long, though, as he was killed at the Battle of Rossbach in 1757, where Frederick the Great smashed a combined Franco-Austrian army. Mary-Louise subsequently had two more husbands, including one who was thirty years younger than her who she married at the age of 61! Although she was imprisoned for a time during the French Revolution she survived The Terror and died in 1814 at the age of 77.
Louis XV knew a fine piece when he saw it (he liked the painting too) and she quickly became one of his second tier mistresses and stayed so for two years. Louis had an official mistress, of course, Madame de Pompadour, who may have been happy at first for the king to entertain this plump little distraction as she was increasingly exhausted by Louis voracious sexual demands, to the extent that she was taking the feminine, eighteenth century version of Viagra to keep up with him. Mary-Louise bore the king an illegitimate daughter, Agathe Louise de Saint-Antoine (1754-1774), but she tried to oust Madame de Pompadour from top mistress spot and was soon kicked out of the court and married off to Comte de Beaufranchet, who must have been very cheered by this development, as Mary-Louise was still only 17. He didn't get to enjoy her for very long, though, as he was killed at the Battle of Rossbach in 1757, where Frederick the Great smashed a combined Franco-Austrian army. Mary-Louise subsequently had two more husbands, including one who was thirty years younger than her who she married at the age of 61! Although she was imprisoned for a time during the French Revolution she survived The Terror and died in 1814 at the age of 77.
The painting now hangs in the Alte Pinakothek in Munich. We were lucky enough to see it displayed in an exhibition in Berlin a couple of years ago (and purchased a very splendid mousemat of the picture which we use to this day) and it is a comparatively small picture: about 24" by 29". Just the sort of sized picture Boucher would turn out for the Cabinets of his wealthy gentleman collectors.
Boucher also painted another version of the painting, which is in the Wallraf-Richartz-Museum in Cologne, but it doesn't quite have the plump pliancy of the original.
Victoire O'MurphyThere is another very similar picture (in the Louvre) which is believed to be Mary-Louise's older sister Victoire.
Miss Victoire O'Murphy in Turkish costumeThis latter painting also exists in a clothed version, which is in a private collection, hence we only have a black and white scan from a fifty year old book in Triple P's library.
This version includes a cupid who seems very interested in Marie-Louise's nether regions. It is believed that this is from a painting which is now lost.
Boucher (1703-1770) was a prolific artist and at the time was criticised for churning paintings out for the money. A more telling criticism came from the philosopher Diderot who accused Boucher of "prostituting his own wife" as he had her pose for erotic pictures which he sold to collectors.
This led to increasing notoriety and his art was criticised more and more towards the end of his life, as neo-classicism ousted his Rococo style.
Triple P also presents Miss Ulla Lindstrom from Penthouse Magazine, November 1969. The pose was an unusual one for the time and we would like to think it was a deliberate echo of Boucher's work; the position of the arms and head is almost identical to the work in the Louvre. The photographer, Bob Guccione, was an artist first and a photographer second. He lived and painted in Paris during the early sixties and would certainly have seen the painting of Victoire O'Murphy in the Louvre. So perhaps a touch of Miss Lindstrom's allure is due to Boucher and his young model of over 200 years previously.
Mel Ramos does Boucher by way of Ursula Andress
Finally, we have to include Pop Art painter Mel Ramos' (1935-) wonderful Touche Boucher (1972) in which he recreates the famous painting but adds tan lines!
Mel Ramos does Boucher by way of Ursula Andress You have read this article Eighteenth century Venuses /
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