All of Francoise Duparc’s surviving paintings blend portraiture and genre. Her subjects appear to be acquaintances whom she has asked to pose; she has captured both their self-consciousness and the spontaneity of their everyday activities, the depiction of which characterizes genre painting. But genre painting, especially when it portrayed members of the humblest classes, was never popular in eighteenth-century France. The Le Nain brothers and Georges de La Tour, who also chose such themes, were largely ignored. Their present high standing is due to a different, more democratic political climate and to different aesthetic values: we no longer require artists to provide ideal images of humanity for our moral edification but rather regard such idealization as a falsification of the truth. Duparc gives no improving message and discreetly refrains from judging her subjects. In brief, her works neither elevate nor instruct. This restraint largely explains her lack of popular success during her lifetime, even if her talent did not go completely unrecognized by her eighteenth-century French contemporaries.

　　　费朗索瓦丝"迪帕克（Francoise Duparc）所有幸存的绘画作品将肖像画和风俗画融为一体。她的创作对象似乎是她的熟人，这些人应她之邀前来摆姿势作画。无论是他们日常活动的忸怩害羞之态，还是其自然率直之神情，她都一并捕捉住，而对日常活动的描绘，即构成了风俗画（genre painting）之特征。然则，风俗画，尤其是当它表现最卑微阶层的成员时，在十八世纪的法国从未受到人们的青睐。勒纳安（Le Nain）兄弟以及乔治"德"拉"图尔（Georges de La Tour）同样也选择了这样的题材，但在很大程度上被人不屑一顾。他们目前很高的地位缘自一种全然不同的、更为民主的政治氛围，并且缘自全然不同的美学价值：我们不再要求艺术家提供理想化的人类形象来进行道德教诲，相反，却会把这种理想化的做法视作对真理的弄虚作假。迪帕克从不传达出粉饰现实的主题，并小心翼翼地避免对其人物对象作道德评判。简而言之，她的作品既不美化，亦不说教。这种克制在很大程度上足以解释她有生之年何以会缺乏普遍的成功，虽然她的艺术禀赋并没有遭到其十八世纪法国同代人的彻底漠视。