In the 18th century, the pastel painter Jean-Étienne Liotard was one of the most wanted portraitists in Europe. The cosmopolitan owed his fame not only to his talent, but also to an international network and his provocative self-staging as a «peintre turc», or «Turkish painter». Ever since his journey to Constantinople, the eccentric Genevan dressed (himself) in Oriental robes and grew, just like the Turkish notables, a flowing, full beard – both very unfashionable at the time. In this outfit he travelled throughout all of Europe: he lived temporarily in London, got married in Amsterdam, often exhibited in Paris and was appointed court painter in Vienna by Empress Maria Theresia.

Also the Genevan aristocracy and bourgeoisie desired to be portrayed by Liotard, including the married couple Isaac-Louis and Julie de Thellusson: completely in accordance with the Rococo fashion they both wear elegant fabrics with frills, decorated with bows and laces; they have grey powdered hair and the husband is – corresponding to the male ideal at that time – clean-shaven. Despite contemporary conventions, the portraits are very private and intimate. Both paintings are interconnected not only by the cheerful mood of the newly-weds, but also by their facing body postures and the harmonic interplay of the colours. Last but not least, the jewellery, the bracelet and the ring with miniature portraits of the other spouse, are subtly coordinated.

Liotard’s knowledge of miniature painting and his technical mastery of working with pastel are particularly expressed in this double portrait. The images testify to the luminosity of the colours, the freshness of the technique and the sensitivity of the artist.