In all, the prodigious artist produced approximately 800 paintings with a long list of royal patrons actively seeking her flattering portrayals across Europe. [27], Between 1835 and 1837, when Vigée Le Brun was in her 80s, she published her memoirs in three volumes (Souvenirs). Tout au long de son règne et même au-delà, Marie de Médicis se sert des artistes afin de façonner une image d’elle-même qui légitime sa position politique et en gomme les aspects les plus désagréables ou polémiques.

1622–1625). Rubens et son ami Pourbus, mais aussi Van Dyck, excellent dans cet exercice. 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. Elisabeth Louise Vigée Le Brun. Vigée Le Brun began exhibiting her work at their home in Paris, the Hôtel de Lubert, and the Salons she held here supplied her with many new and important contacts. The Guardian / In 1777, Empress Maria Theresa of Austria wrote to her daughter Marie Antoinette (1755–1793) asking for a portrait. Vigée Le Brun created a name for herself in Ancien Régime society by serving as the portrait painter to Marie Antoinette.

The first major international retrospective exhibition of her art premiered at the Galeries nationales du Grand Palais in Paris (2015—2016) and was subsequently shown at the Metropolitan Museum of Art in New York City (2016) and the National Gallery of Canada in Ottawa (2016).[28][29]. [7] She painted more than 30 portraits of the queen and her family,[7] leading to the common perception that she was the official portraitist of Marie Antoinette. Unlike the sensuality of the earlier painting, as Susanna looks coyly toward the viewer in low-cut bodice, Vigée Le Brun's self-portrait establishes the attractive young woman as a confident artist. French culture was widely influential in Europe during the 18.

[19] As a consequence, the Académie did not place her work within a standard category of painting—either history or portraiture.
[1] In Geneva, she was made an honorary member of the Société pour l'Avancement des Beaux-Arts. Content compiled and written by Loïc Desplanques, Edited and revised, with Summary and Accomplishments added by Molly Enholm. Elisabeth Louise Vigée Le Brun was one of the best-known and most fashionable portraitists of 18th century France; her clients included the queen Marie Antoinette. The daughter of a French pastel portraitist, Elisabeth Louise Vigée was born in Paris in 1755. Normally a tedious process, Vigée Le Brun's reputation as a lively conversationalist, in addition to her demonstrably expert talent as a painter, were significant to a clientele that often dreaded the notion of having a portrait made. Marie de Médicis lui commande, pour les galeries du palais du Luxembourg, deux cycles narrant sa vie et celle d’Henri IV, son défunt mari. The focused mental energy of these figures (Robert's hair springs from his head as if electrified) are in sharp contrast to the many portraits of women with the softened contours and misted surfaces."

[19] Vigée Le Brun's membership in the Académie dissolved after the French Revolution because female academicians were abolished. Artist biographer Meryle Secrest echoes this sentiment, who notes in contrasting Vigée Le Brun to Gainsborough for ArtNews, "Vigée Le Brun, for instance, was making masterly studies of men, but her women too often conform to the clichés of her age."
On the right is Peace, identifiable by her olive branch, who is guiding Abundance, with her harvest of fruits and wheat. "Elisabeth Louise Vigée Le Brun Artist Overview and Analysis". Vigée Le Brun painted portraits of many of the nobility. By Joseph Baillio, Katharine Baetjer, and Paul Lang, By Jason Farago / [19] As her reception piece, Vigée Le Brun submitted an allegorical painting, Peace Bringing Back Abundance (La Paix ramenant l'Abondance), instead of a portrait. [7] Her husband's great-great-uncle was Charles Le Brun, the first director of the French Academy under Louis XIV. What first caused scandal, however, soon became style, as the pleasing naturalism and relaxed manner of Vigée Le Brun's portraits became immensely popular among the elite and trademark of the artist's distinctive style. On 31 May 1783, Vigée Le Brun was received as a member of the Académie royale de peinture et de sculpture.

Conversely, the darker attire and brunette hair of Peace, often allied with masculinity, and her crown of laurels might hint at the Neoclassicism, a trend towards rationalism in art that was beginning to emerge at this time. 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. [7] After her studio was seized for her practicing without a license, she applied to the Académie de Saint-Luc, which unwittingly exhibited her works in their Salon. [21], After a sustained campaign by her ex-husband and other family members to have her name removed from the list of counter-revolutionary émigrés, Vigée Le Brun was finally able to return to France in January 1802. Her artistic style is generally considered part of the aftermath of Rococo with elements of an adopted Neoclassical style. [4] In addition to many works in private collections, her paintings are owned by major museums, such as the Louvre, Hermitage Museum, National Gallery in London, Metropolitan Museum of Art in New York, and many other collections in continental Europe and the United States. Her father died when she was 12 years old. She stayed at Coppet with Madame de Staël, who appears as the title character in Corinne, ou l'Italie (1807).

[5], In her later years, Vigée Le Brun purchased a house in Louveciennes, Île-de-France, and divided her time between Louveciennes and Paris. She died in Paris on 30 March 1842, aged 86.

[6][22] Like her reception piece, Peace Bringing Back Abundance (1783), Vigée Le Brun regarded her Sibyl as a history painting, the most elevated category in the Académie's hierarchy. [17] Her rival, Adélaïde Labille-Guiard, was admitted on the same day. [1] Her father died when she was 12 years old. Vigée Le Brun's most important patron was the Austrian-born Queen of France, Marie Antoinette (1755–1793), who famously came to a sticky end. [20] While in Russia, Vigée Le Brun was made a member of the Academy of Fine Arts of Saint Petersburg. "[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). [17] She was one of only 15 women to be granted full membership in the Académie between 1648 and 1793. In 1760, at the age of five, she entered a convent, where she remained until 1766.

Catherine was not initially happy with Vigée Le Brun's portrait of her granddaughters, Elena and Alexandra Pavlovna, due to the amount of bare skin the short-sleeved gowns revealed. [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. As Sheriff continues, "Reading the gendered distinction as representing power and dependency, with Peace guiding and controlling the pliant, sensual, and dependent figure of Abundance, signals not only the painting's eroticism, but also the allegory's meaning."

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