Scion of a notable comic actor family, she had an active stage career that spanned three decades, performing with the Comédie-Française from 1699 until her retirement in 1721; she was also remembered as a mistress of Philippe II, Duke of Orléans, Regent of France.

Succeeding her aunt as the company's leading actress, Desmares played tragic roles (such as Hermione in Andromaque by Jean Racine, Émilie in Cinna by Pierre Corneille, and Jocasta in Oedipus by Voltaire[3]) as well as comedy ones (such as Lisette in Le Légataire universel by Regnard and Néréine in Le Curieux impertinent by Destouches); along with her company-mate and rival Mademoiselle Duclos, Desmares was a follower of high, formal and oratorical style of acting that defined the Comédie-Française in the early 18th century.

[c] In the picaresque novel Gil Blas, Alain-René Lesage gives what, though disputed,[17][18] is usually thought[19] to be a literary portrait of Desmares:[20] "I am enchanted by the actress who plays the suivante in the intermèdes.

[22] In Coypel's pastel, now presumed lost, Desmares is shown holding a mask and a dagger, indicating her abilities in comedy and tragedy, stressed in the quatrain on Lépicié's print.

[26] Aside from aforementioned works, Desmares is also widely associated by scholars, to various success, with numerous paintings by contemporaneous artists such as Jean-Baptiste Santerre and Antoine Watteau.

[33][31] There is also a wool and silk tapestry after design by Santerre, similar to Young Lady with a Letter, in the Metropolitan Museum of Art, New York City, showing a woman in fancy dress holding a mask, once identified as Desmares.

Other paintings by Watteau believed to depict Desmares include The Coquettes, dit Actors of the Comédie-Française, The Dreamer,[e] Fêtes Vénitiennes, and Love in the French Theatre.