"[6] During this period, Élisabeth benefited from the advice of Gabriel François Doyen, Jean-Baptiste Greuze, and Joseph Vernet, whose influence is evident in her portrait of her younger brother, playwright and poet Étienne Vigée (1773). Elisabeth Louise Vigée Le Brun. It is a conversation interrupted, however, as Robert, momentarily distracted, looks sharply to our right, beyond the view of the canvas. In 1768, her mother married a wealthy jeweller, Jacques-François Le Sèvre, and shortly after, the family moved to the Rue Saint-Honoré, close to the Palais Royal. This tactic seemed effective in pleasing Catherine, as she agreed to sit herself for Vigée Le Brun (although Catherine died of a stroke before this work was due to begin). Ce mercredi 6 janvier, venez assister gratuitement à l'auditorium du Grand Palais à la pièce de théâtre "La légèreté française", une création originale qui raconte la relation étroite entre Marie-Antoinette et Élisabeth Louise Vigée Le Brun. In her published memoirs, titled Souvenirs, she describes how she was attracted to drawing from a very early age, admitting, "I scrawled on everything at all seasons; my copy-books, and even those of my schoolmates had their margins crammed with tiny drawings of heads and profiles." [5], By the time she was in her early teens, Élisabeth was painting portraits professionally. In 1768, her mother married a wealthy jeweller, Jacques-François Le Sèvre, and shortly after, the family moved to the Rue Saint-Honoré, close to the Palais Royal. [21] It is mentioned in her memoir more than any other work. "[12] In light of this and her other Self-Portrait with Her Daughter Julie (1789), Simone de Beauvoir dismissed Vigée Le Brun as narcissistic in The Second Sex (1949): "Madame Vigée-Lebrun never wearied of putting her smiling maternity on her canvases."[13]. 1783 – Élisabeth Louise Vigée Le Brun, Marie Antoinette with a Rose. Marie Louise Élisabeth Vigée Lebrun (París; 16 de abril de 1755-Louveciennes; 30 de marzo de 1842) fue la pintora francesa más famosa del siglo XVIII y una de las retratistas más demandadas de su época. In fact, she painted an almost equal number of men throughout her career. [21], While in Italy, Vigée Le Brun was elected to the Academy in Parma (1789) and the Accademia di San Luca in Rome (1790). For example, on more than one occasion, the queen preferred a sense of autonomy in her portrayal as opposed to the lavish trappings of the French court, donning the simple attire of a peasant (or the queen's notion of a peasant). By The Modern Art Notes Podcast, hosted by Tyler Green featuring curator Katharine Baetjer. Her Self-Portrait with Straw Hat (1782) was a "free imitation" of Peter Paul Rubens' La Chapeau de Paille (ca. [2], In October 1789, after the arrest of the royal family during the French Revolution, Vigée Le Brun fled France with her young daughter, Julie. A lire aussi. The books and articles below constitute a bibliography of the sources used in the writing of this page. HyperAllergic / [19][22] The painting represents the Cumaean Sibyl, as indicated by the Greek inscription on the figure's scroll, which is taken from Virgil's fourth Eclogue. Born in Paris on 16 April 1755, Élisabeth Louise Vigée was the daughter of Jeanne (née Maissin) (1728–1800), a hairdresser, and portraitist and fan painter, Louis Vigée, from whom she received her first instruction. 1792). She was buried at the Cimetière de Louveciennes near her old home. Her doting father, Louis Vigée, enthusiastically encouraged her nascent artistic efforts, allowing her free reign of his studio and materials. [1] In 1760, at the age of five, she entered a convent, where she remained until 1766. [6][20][21] In her 12-year absence from France, she lived and worked in Italy (1789–1792), Austria (1792–1795), Russia (1795–1801), and Germany (1801). Additionally, the soft, powdery glow of Abundance's skin, her bare breast as well as the texture and color of her drapery, align the representation of Abundance with the Rococo style.

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