![]() ![]() Shortly before her departure from France, Vige Le Brun took sittings from the winsome and wealthy Comtesse de la Chtre, who is included in the artist’s client list for 1789. Through her close connection with Marie-Antoinette, Vigée-Le Brun has always been a figurehead for royalists and a reference point for Ancien-Régime nostalgia exceeding the importance of her portraits that combine painterly brilliance with a lack of psychological penetration. Vige Le Brun was acquainted with this favored courtier and amateur actor, whose open, engaged expression suggests a certain knowing amusement. and elegant clothing worn in both of these portraits of Marie Antoinette was not in. Her later years were passed in Paris and Louveciennes. Elisabeth Vigee Le Brun was one of the most successful and prolific. On two trips to Switzerland she produced important landscape studies and paintings. She visited London in 1803-4 and the Netherlands in 1805. She was able to return to Paris in January 1802. Her style, which attracted royalty and aristocrats across Europe, eventually became associated with that the tastes of Marie Antoinette and the ancien rgime (Nicholson). Petersburg 1795-1801 and in Prussia on her way back to Paris. lisabeth Louise Vige Le Brun (1755-1824) was a French painter active between 1775-1825. During her thirteen years of emigration, she practised with eminent success in Italy 1789-92, Vienna 1792-95, St. Because of her close ties with Marie-Antoinette's inner circle and her staunchly royalist stance, she quickly left Paris in 1789. She submitted a history painting as her reception piece ('Peace and Abundance', Paris, Musée du Louvre), but her academic rank as either history or portrait painter was never officially clarified. The Academy had hesitated to accept her because of her close links with the art trade that was forbidden to Academy members. ![]() In 1783, she was admitted as a member of the Academy after Louis XVI had intervened. Elisabeth is best known for her portraits of Marie Antoinette and other European. The highly impopular queen increasingly used Vigée-Le Brun for her attempts to improve her popular image. Elisabeth Vigee-le Brun lived a period of dramatic political change. In 1776 she painted her first portrait for the royal family, in 1778 her first portrait of Marie-Antoinette. This circle became a spring board for her career as a highly fashionable portrait painter producing flattering and pleasing images to a rich clientele. Their Paris hôtel became a centre of fashionable society. 1776 she married the art dealer Jean-Baptiste-Pierre Le Brun (1748-1813), by whom she had one daughter. In 1774, she became a member of the Académie de Saint-Luc, both because his father was a member and because it was easier to access for female artists than the Académie Royale. She quickly became a highly sought-after portrait painter of French high society. During a visit to the Netherlands in 1781 she further studied the work of Dutch and Flemish masters. By 1770 she was practising on her own account as a portrait painter, and also copying Greuze, Rubens and Van Dyck. Elisabeth-Louise Vigée-Le Brun was born on 16 April 1755 in Paris, daughter of the portrait painter Louis Vigée (1715-1767), under whom she first studied. ![]()
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