Marie-Madeleine Guimard
From The Art and Popular Culture Encyclopedia
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Marie-Madeleine Guimard (27 December 1743 — 4 May, 1816) was a French ballerina who dominated the Parisian stage during the reign of Louis XVI. For twenty-five years she was the star of the Paris Opera. She made herself even more famous by her love affairs, especially by her long liaison with the prince de Soubise. According to Edmond de Goncourt, when d'Alembert was asked why dancers like La Guimard made such prodigious fortunes, when singers did not, he responded, "It is a necessary consequence of the laws of motion".
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Characteristics of her dancing
Not known for hazarding the more difficult movements that were being added to the professional repertory of ballet, she was renowned for her perfectly composed and fluid aristocratic movements, her mime and above all for her expressively smiling visage. The portrait painter Mme Vigée-Lebrun said, "her dancing was but a sketch; she made only petits pas, simple steps, but with movements so graceful that the public preferred her to every other dancer." Other dancers, like Jean-Georges Noverre, praised her enthusiastically, but Sophie Arnould, who thought that she had more graceful gesture than true dancing talent, remarked, after a piece of scenery fell and broke her arm in January 1766, after which she continued to make public appearances gamely, her arm in a sling, "Poor Guimard! if she had only broken a leg! that would not have kept her from dancing."
Biography
She was the love child of Fabien Guimart and Anne Bernard, legitimated at a late date (December 1765), who had been trained by the great choreographer d'Harnoncourt, who had entered her at the age of fifteen among the corps de ballet of the Comédie-Française. After a first affair with the dancer Leger, which produced a child, she was engaged at the Opéra (1761) and made her debut, as Terpsichoré, 9 May 1762, and soon was seen dancing at Court. She was kept by a stream of highly-placed admirers, including the gentleman composer Jean-Benjamin de La Borde, with whom she had a daughter in April 1763, and who always remained in her circle, even after she was finally taken up by Charles de Rohan, prince de Soubise, a maréchal de France and great connoisseur of ballet dancers, who settled on her, it was said, 2000 écus a month.
House at Pantin
In a career of hitherto unequaled luxury, she bought a magnificent house near Paris at Pantin, and built a small private theater connected with it, where Collé's Partie de chasse de Henri IV which was prohibited in public, most of the Proverbes of Carmontelle and similar licentious performances were given to the delight of high society. In truth there were three dinner parties a week, according to Edmond de Goncourt, one for the grandest of grands seigneurs and those of the highest consideration at Court; a second composed of writers and artists and wits that all but rivaled the salon of Mme Geoffrin; and a third to which were invited all the most ravishing and lascivious young women, according to the Mémoires secrets attributed to Bachaumont.
At the same time, according to Baron Grimm, during the bitter cold spell in January 1768, she asked for her allowance in coins, and, without taking an entourage, climbed to all the garrets of her neighborhood at Pantin, giving purses of money, coats and warm bedclothes. Throughout her career, her open-hearted generosity disarmed the pamphleteers.
Among her admirers was Louis-Sextius de Jarente de La Bruyère, bishop of Orléans.
Hôtel Guimard
In the early 1770s, in defiance of the Roman Catholic Archbishop of Paris, she opened the gorgeous hôtel Guimard in the Chaussée d'Antin designed by Claude-Nicolas Ledoux in the latest neoclassical taste, decorated with paintings by Fragonard, and with a theater seating five hundred spectators. In this Temple of Terpsichore, as she named it, the wildest orgies took place, according to her detractors. In 1786 she was compelled to get rid of the property, and it was disposed of by lottery for her benefit for the sum of 300,000 francs.
Her marriage and furniture
Soon after her retirement in 1789 she married Jean-Étienne Despreaux (1748-1820), dancer, song-writer and playwright.
In 2009 the bed made for Guimard to a Louis XVI design by French visionary neoclassical architect Claude-Nicolas Ledoux (1736-1806) as "the high altar of the temple of love,” as Alan Rubin, the gallery owner, said, was offered for sale by Pelham Galleries at the European Fine Arts Fair in Maastricht.
