Vigée-LeBrun’s talent helped her please even the most demanding sitters. Elisabeth Vigée Le Brun’s design of her 1789 self-portrait with her daughter echoes that of the Renaissance painter Raphael, a much-admired artist in eighteenth century France. En bref. [19] As a consequence, the Académie did not place her work within a standard category of painting—either history or portraiture. [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. In fact, this statement (which showed flagrant disregard for the suffering of the people) was never uttered by the Queen that we know from so many sumptuous portraits. On the night, October 6, 1789, that mobs stormed the Versailles palace, Vigee LeBrun fled Paris with her daughter and a … [24] The portraits depict the Liechtenstein sisters-in-law in unornamented Roman-inspired garments that show the influence of Neoclassicism, and which may have been a reference to the virtuous republican Roman matron Cornelia, mother of the Gracchi. At the Salon of 1783, Vigée Le Brun exhibited Marie-Antoinette in a Muslin Dress (1783), sometimes called Marie-Antoinette en gaulle, in which the queen chose to be shown in a simple, informal white cotton garment. This article was most recently revised and updated by, https://www.britannica.com/biography/Elisabeth-Vigee-Lebrun, Art Encyclopedia - Biography of Elisabeth Vigee-Lebrun, Web Gallery of Art - Biography of Élisabeth Vigée-Lebrun, Élisabeth Vigée-Lebrun - Student Encyclopedia (Ages 11 and up). She created more than 600 portraits, a considerable proportion of her total oeuvre of 800 paintings. The two women became friends, and in subsequent years Vigée-Lebrun painted more than 20 portraits of Marie-Antoinette in a great variety of poses and costumes. Élisabeth Louise Vigée Le Brun (16 April 1755—30 March 1842), also known as Madame Lebrun or Madame Le Brun, was a prominent French portrait painter of the late eighteenth century. H… Son père, Louis Vigée, était pastelliste et membre de l'Académie de Saint-Luc. Marie Caroline reine de Naples (1752-1814). Be on the lookout for your Britannica newsletter to get trusted stories delivered right to your inbox. She soon came to the attention of the French queen, who in 1783 appointed her a member of Paris’s powerful Royal Academy. Her great opportunity came in 1779 when she was summoned to Versailles to paint a portrait of Queen Marie-Antoinette. 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. Elizabeth Vigee LeBrun’s royal connections became, suddenly, dangerous, as the French Revolution broke out. The French Revolution . [24], In Russia, where she stayed from 1795 until 1801, she was received by the nobility and painted numerous aristocrats, including the former king of Poland, Stanisław August Poniatowski, and members of the family of Catherine the Great. Vigée Le Brun created a name for herself in Ancien Régime society by serving as the portrait painter to Marie Antoinette. [18] Vigée Le Brun was initially refused on the grounds that her husband was an art dealer, but eventually the Académie was overruled by an order from Louis XVI because Marie Antoinette put considerable pressure on her husband on behalf of her portraitist. [25] Although the French aesthetic was widely admired in Russia,[26] there remained various cultural differences as to what was deemed acceptable. She enjoyed the patronage of European aristocrats, actors, and writers, and was elected to art academies in ten cities.[3]. [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. MPG News / Opinion. Élisabeth Vigée-Lebrun, in full Marie-Louise-Élisabeth Vigée-Lebrun, Lebrun also spelled LeBrun or Le Brun, (born April 16, 1755, Paris, France—died March 30, 1842, Paris), French painter, one of the most successful women artists (unusually so for her time), particularly noted for her portraits of women. Elisabeth Louise Vigée Le Brun (1755–1842) was one of the finest eighteenth-century french painters and among the most important women artists of all time. [21] In Naples, she painted portraits of Maria Carolina of Austria (sister of Marie Antoinette) and her eldest four living children: Maria Teresa, Francesco, Luisa, and Maria Cristina. [19][21] She displayed it while in Venice (1792), Vienna (1792), Dresden (1794), and Saint Petersburg (1795); she also sent it to be shown at the Salon of 1798. Updates? [5], By the time she was in her early teens, Élisabeth was painting portraits professionally. Élisabeth Vigée Le Brun (1755–1842) s’impose comme la portraitiste officielle de la reine Marie-Antoinette et travaille pour les grandes cours d’Europe.Un de ses thèmes de prédilection est « la tendresse maternelle ». January 10, 2021. 1622–1625). [15] The portrait shows the queen at home in the Palace of Versailles, engaged in her official function as the mother of the king's children, but also suggests Marie-Antoinette's uneasy identity as a foreign-born queen whose maternal role was her only true function under Salic law. [1] She travelled to London in 1803, to Switzerland in 1807, and to Switzerland again in 1808. Vigée Le Brun’s pose with her daughter creates a triangular composition that is reminiscent of Raphael’s Madonna and Child in The Small Cowper Madonna. Élisabeth Louise Vigée Le Brun (also spelt Vigée-Lebrun; French pronunciation: ​[elizabɛt lwiz viʒe ləbʁœ̃]; 16 April 1755 – 30 March 1842),[1] also known as Madame Le Brun, was a prominent French portrait painter of the late 18th century. [7] Much to Vigée Le Brun's dismay, her daughter Julie married Gaétan Bernard Nigris, secretary to the Director of the Imperial Theaters of Saint Petersburg. [8], On 12 February 1780, Vigée-Le Brun gave birth to a daughter, Jeanne Lucie Louise, whom she called Julie and nicknamed "Brunette. [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. Are you an event organizer? Elisabeth Louise Vigée Le Brun (French, 1755–1842) is one of the finest 18th-century French painters and among the most important of all women artists. Follow the artist's adventures over the course of her nearly 90-year life in … A renowned painter and a free-thinker, Elisabeth Louise Vigée Le Brun is still considered ahead of her time. [17] She was one of only 15 women to be granted full membership in the Académie between 1648 and 1793. Memoirs of Madame Vigée Lebrun), provide a lively account of her life and times. [20] Her husband, who remained in Paris, claimed that Vigée Le Brun went to Italy "to instruct and improve herself",[19] but she certainly feared for her own safety. Chantilly. Articles from Britannica Encyclopedias for elementary and high school students. [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. Élisabeth Louise Vigée Le Brun, qui dépend des commandes de la famille royale et de la Cour, fait l’objet de virulentes attaques dans des pamphlets. When her father died, Vigee LeBrun was only 12. 1755 1842. Bridging the Rococo and Neoclassical genres, her style seems to encapsulate the whimsical atmosphere of the Ancien Régime in pre-revolutionary France – a time of peaceful foreboding. Su pintura está presente en un centenar de museos de 20 países. [1] Her father died when she was 12 years old. Rares sont les femmes du XVIII e siècle à faire partie de l’Académie Royale de peinture et de sculpture. [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. [23] The Sibyl was Vigée Le Brun's favorite painting. Elisabeth Louise Vigée Lebrun au Grand Palais : Connaissances des arts, vol. "[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]. [14] The resulting scandal was prompted by both the informality of the attire and the queen's decision to be shown in that way. • Virginie Ancelot, Les Salons de Paris : Foyers éteints, Paris, Éditions Jules Tardieu, 1858, 245 p. (lire en ligne), « Le Salon de madame Lebrun », p. 13-44. Vigée Le Brun, Self-Portrait. Élisabeth-Louise Vigée Le Brun, née Louise-Élisabeth Vigée le 16 avril 1755 à Paris,[1] où elle est morte le 30 mars 1842, était une peintre française, généralement considérée comme une grande portraitiste de son temps à l'égal de Quentin de La Tour ou Jean-Baptiste Greuze.. Phiên bản Flashpix được hỗ trợ: 0.100: Không gian màu: sRGB: Phân giải X trên mặt phẳng tiêu: 3.942,5051334702 Marie Louise Elisabeth Vigee LeBrun was born in 1755 in Paris. Her artistic style is generally considered part of the aftermath of Rococo with elements of an adopted Neoclassical style. 53 Marlborough Street rench Cultural Center, rench Cultural Center, 2116, United States, Massachusetts. From the time she was small, he taught his daughter the skills of the trade. Biographie. [31], Vigée Le Brun's portrait of Marie Antoinette is featured on the cover of the 2010 album Nobody's Daughter by Hole. In 1783, because of her friendship with the queen, Vigée-Lebrun was grudgingly accepted into the Royal Academy. Élisabeth Vigée Le Brun, née Louise-Élisabeth Vigée le 16 avril 1755 à Paris, et morte dans la même ville le 30 mars 1842, est une artiste peintre française, considérée comme une grande portraitiste de … These portraits are largely the work of Élisabeth Louise Vigée-LeBrun, a celebrated French artist known especially for her lavish portraits of Marie-Antoinette and other European monarchs and nobles as well as for her many self-portraits. Let us know if you have suggestions to improve this article (requires login). [6] In order to please the Empress, Vigée Le Brun added sleeves. Omissions? 1792). Vigée Le Brun's fame was secured in 1778 when she was summoned to paint her first portrait of the young Queen Marie Antoinette. Vigée Le Brun submitted this piece for her successful application to the Académie, or the French Royal Academy of Painting and Sculpture, albeit with assistance from the queen. She died in Paris on 30 March 1842, aged 86. Corrections? Her father was Louis Vigee, a little-known portrait artist who worked in pastels. La nuit du 6 octobre 1789, elle est forcée de quitter Paris, avec sa fille et sa gouvernante, en même temps que la famille royale, mais se dirige vers la … [1] In 1760, at the age of five, she entered a convent, where she remained until 1766. Marie-Antoinette, painting by Élisabeth Vigée-Lebrun, 18th century; in the Versailles Museum. [16] The child on the right is pointing to an empty cradle, which signified her recent loss of a child, further emphasizing Marie-Antoinette's role as a mother. [1] In Geneva, she was made an honorary member of the Société pour l'Avancement des Beaux-Arts. Elisabeth Louise Vigée Le Brun: A Woman Painter in an Age of. She was buried at the Cimetière de Louveciennes near her old home. From that point, Vigée Le Brun was the queen's favorite portraitist, creating 30 portraits over the next decade of the ruler who preferred fashion to royal protocol, often causing a scandal in the process. [27], Between 1835 and 1837, when Vigée Le Brun was in her 80s, she published her memoirs in three volumes (Souvenirs). Lady Hamilton was similarly the model for Vigée Le Brun's Sibyl (1792), which was inspired by the painted sibyls of Domenichino. In 1801 she returned to Paris but, disliking Parisian social life under Napoleon, soon left for London, where she painted portraits of the court and of Lord Byron. The Memoirs of Elisabeth Vigee-Le Brun Paperback – Import, January 1, 1989 by Elisabeth Vigée-le Brun (Author), Siân Evans (Translator) 4.8 out of 5 stars 10 ratings [14] Vigée Le Brun's later Marie-Antoinette and her Children (1787) was evidently an attempt to improve the queen's image by making her more relatable to the public, in the hopes of countering the bad press and negative judgments that the queen had recently received. 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. 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. As one of only four female academicians, Vigée-LeBrun enjoyed a high artistic, social, and political profile. He wore his clothes, just as they were, without altering them to fit his figure. When you hear the name Élisabeth Louise Vigée Le Brun, the next name that may come to mind is that of Marie Antoinette. Goya, And there's nothing to be done (from the Disasters of War) Painting colonial culture: Ingres's La Grand Odalisque. During her career, according to her own account, she painted 900 pictures, including some 600 portraits and about 200 landscapes. Encyclopaedia Britannica's editors oversee subject areas in which they have extensive knowledge, whether from years of experience gained by working on that content or via study for an advanced degree.... Meet extraordinary women who dared to bring gender equality and other issues to the forefront. [17] Her rival, Adélaïde Labille-Guiard, was admitted on the same day. [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. [32], Marie-Gabrielle de Gramont, Duchesse de Caderousse , 1784, Portrait de la comtesse Maria Theresia Bucquoi, 1793, Portrait of Pélagie Sapieżyna-Potocka, (1794) Royal Castle, Warsaw, Princess Ekaterina Nikolaevna Menshikova, 1795, Anna Ivanovna Baryatinskaya Tolstoy, 1796, Ekaterina Feodorovna Baryatinskaya-Dolgorukova, 1796, Académie royale de peinture et de sculpture, Ekaterina Feodorovna Baryatinskaya-Dolgorukova, "Elisabeth Louise Vigee Le Brun: A Historical Survey of a Woman Artist in the Eighteenth Century", "Élisabeth Vigée Le Brun: Woman Artist in Revolutionary France", "Elisabeth Louise Vigée Le Brun (1755–1842)", "How a Queen Lost Her Heart Before She Lost Her Head", "Hole Reveal New Album Art and Tracklist", Art UK: Works of art by Vigée Le Brun in British Collections, Gallery of works by Vigée Le Brun, articles, her memoirs, and biographical information, Katherine Baetjer: "Vigée Le Brun: Woman Artist in Revolutionary France. Our editors will review what you’ve submitted and determine whether to revise the article. Signature de Elisabeth Vigée-Lebrun Élisabeth Vigée-Lebrun (1755-1842), dite Madame Vigée-Lebrun (ou Le Brun) est une portraitiste française Élisabeth Vigée-Lebrun (other spellings: Élisabeth , Vigée-Le Brun ), daughter of Louis Vigée , was a French painter. 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). She first painted Marie Antoinette in 1778 and became her official court painter shortly thereafter, painting about 30 portraits of … As her career blossomed, Vigée Le Brun was granted patronage by Marie Antoinette. [21], The first retrospective exhibition of Vigée Le Brun's work was held in 1982 at the Kimbell Art Museum in Fort Worth, Texas. [2] Her subject matter and color palette can be classified as Rococo, but her style is aligned with the emergence of Neoclassicism. She stayed at Coppet with Madame de Staël, who appears as the title character in Corinne, ou l'Italie (1807). Her style, which attracted royalty and aristocrats across Europe, eventually became associated with that the tastes of Marie Antoinette and the ancien régime (Nicholson). After Élisabeth Louise Vigée Le Brun (1755–1842) Alternative names: Marie Louise Élisabeth Vigée-Lebrun; Vigée-Le Brun; Élisabeth-Louise Vigée-Le Brun: Description: French portrait painter: Date of birth/death: 16 April 1755 30 March 1842 Location of birth/death: Paris: Paris: Authority control: The court gossip-sheet Mémoires secrets commented: "An affectation which artists, art-lovers and persons of taste have been united in condemning, and which finds no precedent among the Ancients, is that in smiling, [Madame Vigée LeBrun] shows her teeth. [6], During her lifetime, Vigée Le Brun's work was publicly exhibited in Paris at the Académie de Saint-Luc (1774), Salon de la Correspondance (1779, 1781, 1782, 1783), and Salon of the Académie in Paris (1783, 1785, 1787, 1789, 1791, 1798, 1802, 1817, 1824). Élisabeth Louise Vigée Le Brun was one of the great portrait artists of her day, easily the equal of Quentin de La Tour or Jean Baptiste Greuze. [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. Delacroix, Liberty Leading the People. Delacroix, Liberty Leading the People. The French portraitist Élisabeth Louise Vigée Le Brun (1755–1842) was one of the most successful painters of her era. [citation needed], Vigée Le Brun is one of only three characters in Joel Gross's Marie Antoinette: The Color of Flesh (premiered in 2007), a fictionalized historical drama about a love triangle set against the backdrop of the French Revolution. Tagged: Elisabeth Vigée-Lebrun. Ingres, La Grande Odalisque. Later she went to Switzerland (and painted a portrait of Mme de Staël) and then again (c. 1810) to Paris, where she continued to paint until her death. French Travel Boutique. trans. [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. 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. On the outbreak of the Revolution in 1789, she left France and for 12 years lived abroad, traveling to Rome, Naples, Vienna, Berlin, St. Petersburg, and Moscow, painting portraits and playing a leading role in society. A Look at the Subversive Art of Élisabeth Vigée Le Brun—and the One Gender-Bending Portrait That Has Kept Historians Guessing. By signing up for this email, you are agreeing to news, offers, and information from Encyclopaedia Britannica.

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