Marie Rinteau, called Mademoiselle de Verrières

The portrait is executed in oil paint on canvas, a standard medium for 18th-century French portraiture. The support dimensions are 115.6 cm in height by 87.9 cm in width, consistent with a three-quarter-length composition. The handling of paint is not described in the sources, but the depicted elements, ribbon, lace, bow, feather, crucifix, pearl, musical notation, and glassware, indicate a Rococo concern for luxurious textures and decorative detail.

These formal attributes align with Drouais's known delicate brushwork and refined surface treatment, though specific condition notes are absent. The overall style emphasizes elegance and grace through the sitter's attire and the inclusion of musical notation, suggesting cultivated accomplishments.

Executed in 1761 by François-Hubert Drouais, this portrait depicts Marie Geneviève Rinteau, known as Mademoiselle de Verrières. The work was formerly owned by Jules Bache and subsequently entered the collection of the Metropolitan Museum of Art, where it remains. The circumstances of its commission are not recorded in the available sources.

François-Hubert Drouais completed this oil portrait of Marie Rinteau, known as Mademoiselle de Verrières, in 1761, presenting it at the Paris Salon that year. The painting depicts her at a dressing table, holding sheet music, a subtle nod to her theatrical background. Notably, the sitter's coiffure was later updated in the mid-1770s to reflect the elaborate, towering styles then fashionable, replacing her original, simpler hairstyle. The work measures 45 1/2 by 34 5/8 inches.

Beyond her own public life, Marie Rinteau holds a significant place in cultural history through her descendants. She was the mother of Marie Aurore de Saxe, whose father was the renowned military commander Maurice de Saxe. Rinteau is perhaps most widely recognized today as the great-grandmother of the celebrated nineteenth-century French writer George Sand, connecting her to a prominent literary lineage.