Miniature painting originally referred to the art of painting in watercolour on vellum (fine animal skin). It developed in the early 16th century out of the tradition of illuminating manuscripts (hand-written books). In England, miniature was predominantly a portrait art. It was practised by specialist miniature painters, such as Nicholas Hilliard (1547-1619). On the Continent, miniature painting as a portrait art had a few great practitioners, such as the French painter Jean Clouet (1516?-1572). But not even Clouet was a specialist. Like Hans Holbein, he worked both in miniature and in large in oil.

In France, it was not until the 1770s that a notable school of portrait miniaturists emerged. It was only then that they were able to rival English ones, such as Richard Cosway (1742-1821) and John Smart (1742-1811). Like Cosway and Smart, these French artists worked in watercolour on ivory.

In the early 18th century ivory began to replace vellum as a support for miniature painting. It was introduced by Rosalba Carriera (1675-1757), a Venetian artist. Its use developed in distinct ways in England and on the Continent. In continental Europe, and especially in France, Carriera's method of using opaque 'gouache' (watercolour mixed with white) was influential. She exploited the ivory primarily by leaving the face transparent. In contrast, by the 1770s artists of the English School tended towards transparent pigments. They very rarely used gouache.

This miniature is by Jean Urbain Guerin, who was born in Strasbourg in 1769 and died in Obernay (Alsace) in 1836. He was a pupil of Regnault and David, and, much later in his career, of Isabey. He made his debut at the Salon in 1788 with several miniatures and became one of the greatest French miniaturists of his time. This one, however, is not from an original sitting with Madame Recamier. Instead, it is a copy after a painting by Gérard.

Madame Recamier (1777-1849) was celebrated in French Empire society for her beauty and love affairs. At the age of 15 she was married to a wealthy lawyer who may have been her natural father. The marriage was loveless and unconsummated, and she carried on many flagrant affairs. In her Parisian town house she held a fashionable literary salon. Some of the most accomplished portraitists of the time sculpted, drew and painted her image.