The Marquise de Pezay, and the Marquise de Rougé with Her Sons Alexis and Adrien

The painting features Caroline de Murat, Marquise de Pezay, alongside her close friend Natalie Victurnienne de Rochechouart de Mortemart, Marquise de Rougé, who embraces her two young sons, Alexis and Adrien. The figures are arranged in a close, interlocking composition, emphasizing their bond. Both women wear turbans, a detail that subtly references ancient sibyls, imbuing the domestic scene with a sense of elevated significance and contemplative depth.

When exhibited at the 1787 Salon, the painting garnered critical acclaim for its technical execution. Observers noted the luminous quality of the silks and the delicate rendering of skin tones. The work's emotional depth, particularly its depiction of maternal tenderness, drew comparisons to Vigée Le Brun's earlier Self-Portrait with Her Daughter Julie, reinforcing her reputation for capturing heartfelt human connection with refined artistry.

This group portrait was displayed at the 1787 Paris Salon, appearing as entry number 98. A contemporary record indicates its placement above a doorway, positioned in close proximity to Vigée Le Brun's royal portrait of Marie-Antoinette. This exhibition occurred on the cusp of the French Revolution, a period of significant social and political upheaval that would soon transform French society and the role of art within it.

The painting remained within the Rougé family for almost two centuries, passing from the Marquise de Rougé to her son Adrien, and subsequently through several generations at their family estates, including the Château de Guyencourt and the Château de Saint-Symphorien. In 1960, the artwork was sold through Wildenstein & Co. The Bay Foundation acquired it in 1964, ultimately donating it to the National Gallery of Art in Washington, D.C.