Updated November 2026 · ranked by our popularity score (searches, visits and orders for each work) · 7 works by Constance Mayer in our catalogue
In short
Self-portrait (1801) is the Constance Mayer painting that draws the most eyes. After it, the eye goes to The Happy Mother (1810) and The Unfortunate Mother (1810). Among the 7 works of Constance Mayer in our catalog, these 7 are the most famous, each a unique original presented with its year, its museum and the reason it endures.
A single figure occupies the vertical space, seated in a three-quarter view with her head resting against her left hand. This Neoclassical self-portrait captures a moment of quiet melancholy. The subject's gaze is directed slightly toward the viewer, her expression pensive and heavy with thought. She wears an empire-waist gown of bright white, which creates a sharp contrast against the deep blacks and dark blues of the surrounding drapery. Soft,…
In this 1810 oil on canvas, a seated woman is positioned slightly to the right of the vertical axis, cradling an infant in a woodland setting. The composition centers on the physical connection between the mother and the child, framed by the verticality of surrounding tree trunks. A soft light source illuminates the mother's face, her shoulders, and the infant's body, while the background forest remains in deep shadow. This…
A heavy, somber stillness hangs over the scene, as if the very air has thickened with grief. A solitary woman stands in the dimness, her figure caught in a moment of profound contemplation or perhaps a quiet, crushing loss. She is draped in classical attire, the pale cream and yellowish tones of her gown catching a singular, soft light that seems to emerge from the void itself. This light traces…
The Portrait of Amable Tastu emerges from the shadows of the early nineteenth century, a quiet encounter with a woman of intellect and letters. Painted by the French artist Constance Mayer about 1817, this work captures a moment of stillness in the life of a notable figure. The subject, Amable Tastu, moves through the frame not merely as a sitter, but as a 19th-century French poet and writer whose presence…
In the soft, amber glow of an eternal afternoon, Marie Constance Mayer’s The Sleep of Venus and Cupid invites the viewer into a realm where myth and intimacy converge. Painted in 1806, this monumental oil on canvas is far more than a mere mythological illustration; it is a dramatic ode to Eros, capturing the very moment when divine slumber meets the stirring of passion. The scene unfolds with a breathtaking…
The four subjects that come back most often in these originals, each with its finest example.
The 4 museums that hold the most of the paintings on this page.
| Museum | City | Works by Constance Mayer | Paintings from this list |
|---|---|---|---|
 la Cour D'or |
Metz | 1 | Portrait of Amable Tastu |
 Wallace Collection |
London | 1 | The Sleep of Venus and Cupid |
 Wadsworth Atheneum |
Hartford | 1 | Self-Portrait with Artist's Father |
 Музей витончених мистецтв Нансі |
Nancy | 1 | Portrait of Madame Élise Voïart |
A long career of 17 years, 1801 to 1817: Constance Mayer's most famous originals, shown year by year.
Pick a year to see its originals.
A single figure occupies the vertical space, seated in a three-quarter view with her head resting against her left hand. This Neoclassical self-portrait captures a moment of quiet melancholy. The subject's gaze is directed slightly toward the viewer, her expression pensive and heavy with thought. She wears an empire-waist gown of bright white, which creates a sharp contrast against the deep blacks and dark blues of the surrounding drapery. Soft,…
More from 1801
In the soft, amber glow of an eternal afternoon, Marie Constance Mayer’s The Sleep of Venus and Cupid invites the viewer into a realm where myth and intimacy converge. Painted in 1806, this monumental oil on canvas is far more than a mere mythological illustration; it is a dramatic ode to Eros, capturing the very moment when divine slumber meets the stirring of passion. The scene unfolds with a breathtaking…
In this 1810 oil on canvas, a seated woman is positioned slightly to the right of the vertical axis, cradling an infant in a woodland setting. The composition centers on the physical connection between the mother and the child, framed by the verticality of surrounding tree trunks. A soft light source illuminates the mother's face, her shoulders, and the infant's body, while the background forest remains in deep shadow. This…
More from 1810
The Portrait of Amable Tastu emerges from the shadows of the early nineteenth century, a quiet encounter with a woman of intellect and letters. Painted by the French artist Constance Mayer about 1817, this work captures a moment of stillness in the life of a notable figure. The subject, Amable Tastu, moves through the frame not merely as a sitter, but as a 19th-century French poet and writer whose presence…
Self-portrait (1801). The Happy Mother (1810) and The Unfortunate Mother (1810) come next.
27 years old: Self-portrait dates from 1801, and Constance Mayer was born in 1774.
Our catalog holds 7 works by Constance Mayer, dated from 1801 to 1817.
Mostly in la Cour D'or (Metz), Wallace Collection (London) and Wadsworth Atheneum (Hartford). The museum table above lists them all.
In 1801: 2 of the 7 works on this page were made then, Self-portrait among them.
On this page, the earliest is Self-portrait (1801) and the latest Portrait of Amable Tastu (1817).
Woman (4), Drapery (2) and Forest (2), across the 7 works on this page.
Oil On Canvas, for 4 of the 7 works on this page.
Born in France around 1774, Marie Constance Mayer lived a life marked by artistic talent, personal struggles, and complex relationships within the Neoclassical art world. Her career, often described as "brilliant but bitter," reflects both her successes as a woman artist in post-Revolutionary France and the challenges she faced due to gender bias and dependence on male colleagues.
Mayer's artistic training began with established artists of the time. She initially studied under Jean-Baptiste Greuze, known for his genre scenes and portraits. This early instruction provided her with a foundation in traditional painting techniques and an understanding of popular subject matter. Her style was influenced by the Neoclassical movement, characterized by its emphasis on clarity, order, and idealized forms.
A significant portion of Mayer’s artistic development occurred through her long association with Pierre-Paul Prud'hon, a leading French painter. Their relationship was complex, involving both collaboration and dependence. He sketched designs and compositions, while she executed the paintings. Many works were exhibited under her name, but later attributed to Prud'hon when they entered public collections. This practice blurred the lines of authorship and contributed to confusion regarding their individual contributions.
Despite the challenges of attribution, Mayer achieved recognition for her artistic skill. Her style was characterized by Neoclassical principles, with a focus on clarity, idealized forms, and refined execution. She excelled in portraiture, genre scenes, and miniature paintings.
Mayer’s later years were marked by personal struggles and a sense of unfulfilled potential. Her dependence on Prud'hon and the subsequent attribution issues hindered her recognition as an independent artist. She died in 1821, leaving behind a legacy complicated by questions of authorship and gender bias.
In recent years, there has been renewed interest in Mayer’s life and work. Art historians are reevaluating her contributions and seeking to clarify the complex relationship between her and Prud'hon. Her story serves as a reminder of the importance of recognizing the achievements of women artists throughout history.
