Maurice Quentin de La Tour (5 September 1704 – 17 February 1788) was a French Rococo portraitist who worked primarily with pastels. Among his most famous subjects were Voltaire, Rousseau, Louis XV and Madame de Pompadour. Biography Maurice Quentin de La Tour was born in Saint-Quentin, the third son of a musician, François de La Tour. François was from Laon and he was the son of a master mason, Jean de La Tour, of Laon and Saint-Quentin, who died in 1674. François de La Tour apparently was successively a trumpet-player for the rifle regiment of the Duc du Maine, and musician to the master of the collegiate church of Saint-Quentin. He is popularly said to have disapproved of his son taking up the arts, but there is nothing to support this. According to François Marandet in 2002, an apprenticeship was arranged for the young Maurice, with a painter named Dupouch, from 12 October 1719, but it is not known when this contract was terminated. Little is known of de La Tour's background until, when barely nineteen, he went to Paris indefinitely, fleeing an indiscretion concerning his cousin, Anne Bougier; by this age he was claiming painting as his profession. After travelling briefly to England in 1725, he returned to Paris in 1727, where he was encouraged to begin working as a portraitist in pastels. His earliest known portrait, which is attested only by an engraving made in 1731 by Langlois, was a portrait of Voltaire. In 1737, at the Paris Salon, de La Tour exhibited the portraits of Madame Boucher, the wife of the painter François Boucher, and l'Auteur qui rit or Self-Portrait, Laughing (musée du Louvre), the first of a series of 150 portraits that served as one of the glories of the Paris Salon for the next 36 years. Nevertheless, the painter Joseph Ducreux claimed to be his only student (although this is unlikely). On 25 May 1737, de La Tour was officially recognised (agréé) by the Royal Academy of Painting and Sculpture, and soon attracted the attention of the French court. According to Jeffares, he had an apartment in the Palais du Louvre in 1745. By the late 1760s, his portraiture of the royal family had ceased. De La Tour was popularly perceived as endowing his portrait subjects with a distinctive charm and intelligence, while his delicate but sure touch with the pastel medium rendered a pleasing