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In his portrait of Madame Henriette, Nattier returned to the grand, Rigaud-style staging of earlier days, but the result is bland: the princess, in a vast embroidered dress and seated in front of an enormous blue drape, holds, rather than plays, a bass viol. This is emotionless display; the highly fashionable garbing of sitters as shepherds or goddesses was ultimately more pleasant.
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