After big summer show, National Gallery predicts more triumphs ahead

The Marquise de Pezay and the Marquise de Rougé with Her Two Sons, 1787, oil on canvas, 123.4 x 155.9 cm. National Gallery of Art, Washington.

The National Gallery in Ottawa is sighing with relief and patting itself on the back after receiving the news that its big summer show, a survey of paintings by the late 18th-century portraitist Elisabeth Louise Vigée Le Brun, was seen by just more than 90,000 patrons.

That’s 20 per cent more than the 75,000 it was projecting before the three-month exhibition opened June 10. Further, gallery officials see the success as one more marker of the gallery’s improving circumstances and perhaps a harbinger of greater triumphs ahead.

La Paix ramenant l’abondance by Élisabeth Louise Vigée – 1780, oil on canvas, 102 x 133.

La Paix ramenant l’abondance by Élisabeth Louise Vigée – 1780, oil on canvas, 102 x 133.

“A wonderful surprise” is how Paul Lang characterized the news in a recent interview. The gallery’s deputy director and chief curator, he also was one of the three senior curators of the roughly 90 works that made up Élisabeth Louise Vigée Le Brun (1755–1842): The Portraitist to Marie Antoinette, as it was called in Canada. Not only was attendance strong, the NGC sold every copy, both the French version and English, of the exhibition’s hardcover catalogue. “What makes me happy is that the people were really happy,” said Lang, 58, who joined the NGC in 2011 after a lengthy museum curatorship in Geneva. “There is something that happened around this exhibition, that’s for sure. It’s really a public success.”

The show’s good fortune certainly was no slam dunk. While Le Brun is, to Lang’s cultivated eye, “the most important female artist of the 18th century,” she was largely an unknown quantity on these shores. This was even true, to some extent, in her native France, where she’s been regarded, variously, as a society artist, a panderer to the pre-Revolutionary aristocracy and a reactionary beguiler. In recent years, though, her cachet has seen to be in the ascendant. She was, after all, largely a self-taught and self-made success, not to mention a rare female member of the Académie royale whose travels and talent took her into the highest circles of Russian, Swiss, English and Austrian society.

Countess Tolstoya by Élisabeth Louise Vigée Le Brun, 1796 oil on canvas, 137.7 × 104

In short, a substantial touring retrospective seemed long overdue. Indeed, during its three-and-a-half month stay last year at the Grand Palais in Paris (the retrospective’s debut venue), the show drew 237,000 visitors. Its next stop, a February-to-May run this year at New York’s Metropolitan Museum, recorded 165,000 patrons.

The NGC has what could charitably be described as “mixed results” in both summer attendance and overall attendance in the past 10-plus years. While last year’s summer retrospective of Alex Colville was, with almost 114,000 paying visitors, an indisputable hit, its 2014 summer survey of the oeuvre of 19th-century French illustrator/painter Gustave Doré was a thumping failure: fewer than 50,000 attendees. The previous summer, an ambitious, path-breaking survey of international contemporary indigenous art, titled Sakahan, was similarly disappointing: just 60,000.

Marie-Antoinette with a rose by Élisabeth Louise Vigée Le Brun, 1783. Oil on canvas, 116.8 x 88.9 cm

Of course, there have been successes – 2012’s Van Gogh: Up Close enjoyed slightly more than 230,000 visitors; Renoir Landscapes 1865-1883 scored 172,000 in 2007; Caravaggio and His Followers in Rome, from 2011, had almost 109,000. But you expect venerables of this ilk to send people through the turnstiles. Much more sobering was the attendance, in the summer of 2010, for Pop Life: Art in a Material World. An ample potpourri of modern and contemporary work by such high-recognition names as Warhol, Hirst, Koons, Haring and Murakami, it was a huge hit at London’s Tate but polled only 68,000 attendees during its three-month stay here.

Still, Lang is convinced the NGC is “on an upward trajectory,” especially in light of the back-to-back summer successes of Colville and Vigée Le Brun, not to mention the positive notices earned by recent non-summer presentations such as the Jack Bush retrospective and Monet: A Bridge to Modernity.

Countess Varvara Nikolayevna Golovina by Élisabeth Louise Vigée Le Brun, c. 1797–1800 oil on canvas, 83.5 × 66.7 cm

Statistics seem to confirm his optimism: The gallery had 397,000 visitors in calendar year 2015, a 47-per-cent hike over 2014’s 270,208. That tally, in turn, was 12 per cent higher than the 241,173 recorded in 2013. (To date, for the fiscal year ending March 31, 2017, the NGC has had close to 240,000 visitors.)

Lang was quick to attribute much of this renewal to “strengthened relations between curatorial and marketing” – the result, in part, of the NGC having commissioned in early 2015 a broad market research study by Ipsos Reid to get a fix on its local, regional and national audiences, both actual and potential. The first such comprehensive survey in more than 15 years, it found Canadians generally favourably disposed toward the NGC and keen to learn about other cultures and history through the art and complementary events it might present. Hence, at the Vigée Le Brun, the popularity of an ancillary, multifaceted presentation devoted to the “immodest” white muslin dress Marie Antoinette wore for a 1783 portrait.

Marie Antoinette and Her Children by Élisabeth Louise Vigée Le Brun, 1787 oil on canvas, 275 × 216.5 cm

Admittedly, it’s unlikely the NGC will ever enjoy the mid-six-figure tallies it did in each of the seven or eight years after opening its Moshe Safdie-designed quarters in 1988. At the same time, Lang believes the years of annual attendance being well below 300,000 are “really behind us.” Certainly, guaranteed draws remain few and far between – but, as Vigée Le Brun demonstrated, audiences can be led toward (relatively) unfamiliar content. In its marketing and promotion, the NGC smartly stressed the artist’s spunk as a divorced, financially independent woman in a man’s world, her position as Marie Antoinette’s preferred painter and the soon-to-be-beheaded Queen’s status as Vigée Le Brun’s most famous sitter. Also, Marie Antoinette died at 37 – only a year older than that other young, doomed and tragic royal, Diana, Princess of Wales.

“Content matters, too, of course,” Lang said. “I don’t think you can be successful with a poor artist or with something uninteresting. The success of an exhibition … is to deliver something that is, in a way, already known, consciously or unconsciously, and something new. That’s the balance that has to be found. Completely unknown territory – we know that it is difficult.”

Another lesson learned, or at least reinforced, by the Colville/Vigée Le Brun tandem: “Our high season, unlike other museums in Canada or elsewhere, is definitely the summer,” said Lang. “And the summer will remain our high season, that’s for sure.”

For 2017, Canada’s sesquicentennial, this means visitors will be treated to a complete reinstallation of the Canadian and indigenous galleries. For 2018, there’s an epic exhibition of paintings by John Constable (1776-1837), plus “something else I’m not ready to speak about,” Lang said.

by James Adams

Source: The Globe and Mail

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Famous 18th-century portraitist gets her due in sumptuous Ottawa exhibit

Considered one of the most important female artists of all time, Élisabeth Vigée Le Brun, a savvy, beautiful and smart woman who carved out a career in a man’s world, is celebrated in a summer-long exhibit of 90 works from around the world at the National Gallery of Canada in Ottawa, to Sept. 11. Paintings by Élisabeth Louise Vigée Le Brun.

A husband who gambled away a fortune, a beloved daughter who died too soon, a painter who had the ear of the queen, Élisabeth Louise Vigée Le Brun’s life is the stuff of an HBO series.

Her work, meanwhile, is on view in a stunning show at the National Gallery of Canada to Sept. 11 where 90 luminous portraits bring back a society long vanished and thrill viewers with the artist’s mastery at light, colour and exquisite detail.

Le Brun was a shrewd, self-made businesswoman in 18th-century France when few women had professional careers. By the time she was a teen she had clients coming to her door, at the age of 23 she first painted Queen Marie Antoinette, her contemporary, and by 28 she was accepted into the Académie Royale de Peinture et de Sculpture, rare for women.

One of the keys to her success was her ability to “soften” any facial imperfections in her wealthy and noble clients, says exhibit co-curator Paul Lang, deputy director and chief curator at the National Gallery of Canada. “She did a kind of plastic surgery for Marie Antoinette.”

“You’ll see that Marie Antoinette was not a beautiful woman. She had a very heavy chin typical for a Hapsburg.”

However, in Le Brun’s portraits “the people can still recognize the queen but it’s just softened.”

Élisabeth Louise Vigée LeBrun Self-Portrait with Cerise Ribbons, c. 1782. Oil on canvas, 64.8 x 54 cm Kimbell Art Museum, Fort Worth, Texas.
Élisabeth Louise Vigée LeBrun, Self-Portrait with Cerise Ribbons, c. 1782. Oil on canvas, 64.8 x 54 cm Kimbell Art Museum, Fort Worth, Texas.

Considered the most important female painter of her day, Le Brun was the daughter of a portraitist and expert in pastel. She was passionate about painting from a very early age.

“That passion has never waned,” she wrote as an elderly woman in 1825 in her memoir, Souvenirs. “I believe, in fact, it has only grown with time.

“It is, moreover, to that divine passion that I owe not only my fortune but also my happiness, since in my youth — as at the present time — it established relations between me and all the most amiable and distinguished men and women in Europe.”

Le Brun’s father gave his daughter her first drawing lessons and said, “You will be a painter, my child, or no one will.”

When he died from choking on a fish bone, he left his 12-year-old daughter bereft. Le Brun’s mother thought it would help her daughter if she studied painting seriously. She enrolled her at a female-run drawing academy, gave her a room as an atelier and took her to the city’s most important galleries.

Le Brun taught herself by copying historical and contemporary paintings and by painting from models, initially family members.

She is such a great painter, says Lang, because as well as being a technical virtuoso, she synthesized the past and the present in her art.

“She’s self-trained but is able to look at Italian art mainly Raphael and Domenichino, but she’s also able to look at British art and looking at Reynolds and bringing it all together in a magical way for an intimacy and a monumental composition.

“She was able to renew her vocabulary in Italy opening to landscape and remaining always faithful to Rubens and Van Dyck and the Flemish art of the 17th century.”

After a trip to Flanders to see Rubens’ work she used wood panels for her easel paintings and transparent glazes “over warm, light-toned preparations to suggest the effect of blood pulsing beneath the surface of the skin,” writes co-curator and Le Brun expert Joseph Baillio.

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Peace Bringing Back Abundance, 1780, the history painting she submitted for admission to the Academie Royale de Peinture et de Sculpture, Oil on canvas, 102 x 133 cm. Musée du Louvre, Paris, Département des Peintures

After Le Brun’s mother remarried a goldsmith, a nasty man who took the artist’s earnings, the family moved to a town house occupied by art dealer and trained artist Jean-Baptiste Pierre Le Brun. He lent the beautiful young artist works from his collection to copy and asked for her hand in marriage.

“I was far from wishing to become his wife, though he was very well built and had a pleasant face,” Le Brun writes in Souvenirs. “I was then twenty years old, and was living without anxiety as to the future, since I was already earning a deal of money, so that I felt no manner of inclination for matrimony.”

On her mother’s urging, she accepted, mainly to escape her stepfather. “So little, however, did I feel inclined to sacrifice my liberty that, even on my way to church, I kept saying to myself, ‘Shall I say yes, or shall I say no?’ ”

The one joy of her union — though LeBrun had to be dragged from her studio to take the time to give birth — was her daughter Julie. She adored the child, nicknamed Brunette, and always painted children with affection, sensitivity and the naturalness that was championed by Rousseau and that she brought to all her subjects.

A celebrity herself and often a subject for malicious, sexist gossip and condescending art criticism, she was known for her lively salons and was very much a member of the society she painted and a society she never disavowed.

On the night of Oct. 6, 1789, as mobs surged into Versailles to drag the royal family to Paris, Le Brun grabbed her daughter and fled revolutionary France, initially for Rome. She had only 20 francs thanks to her husband, “… although I had earned more than a million. He had squandered it all.”

Marie Antoinette and Her Children, 1787, Le Brun's most important commission and intended to restore the queen's reputation, which it did not. Oil on canvas, 275 x 216.5 cm. Musee National des Chateaux de Versailles et de Trianon, France (MV 4520). © RMN-Grand Palais/Art Resource, NY.
Marie Antoinette and Her Children, 1787, Le Brun’s most important commission and intended to restore the queen’s reputation, which it did not. Oil on canvas, 275 x 216.5 cm. Musee National des Chateaux de Versailles et de Trianon, France (MV 4520). © RMN-Grand Palais/Art Resource, NY.

She made her way to Europe’s capitals, where her reputation and profits grew, and spent six years in St. Petersburg, painting members of the Russian imperial family and living in an apartment overlooking the Winter Palace.

Sadly, this is where her daughter met her sad fate when she fell for a Russian theatre secretary, Guitain Nigris, whom Le Brun described as a “man without talents, without fortune, without a name.”

Julie, seen in three portraits in this exhibit from ages six to 18, married against her mother’s wishes. The marriage turned sour immediately and only lasted eight years. Mother and daughter fell out over money and stopped speaking.

Julie contracted syphilis and died destitute in Paris at the age of 39 in 1819 when Le Brun was back in Paris.

The artist describes the “cruel grief” she experienced.

“When, going to see her the last day, my eyes fell upon that dreadfully sunken face, I fainted away. My old friend Mme. de Noisville rescued me from that bed of sorrow; she supported me, for my legs would not carry me, and took me home. The next day I was childless! Mme. de Verdun came with the news, and vainly tried to soften my despair. All the wrong-doing of the poor little one vanished — I saw her again, I still see her, in the days of her childhood. Alas! she was so young! Why did she not survive me.”

After Le Brun died in Paris in 1842 at the age of 87, she was underrated and didn’t influence many other artists. “She couldn’t have,” says Lang, “because after that, people were expecting something else. It’s the last firework of a society which disappeared with the ancien regime.”

Le Brun was also dismissed because of a prejudice against female artists, which still exists today, says Lang, and against self-trained artists. She painted mainly portraits, another strike against her — when the Academie valued history painting and landscape — and in the 1940s and 1950s feminists like Simone de Beauvoir denigrated women artists who were “the so-called upper class artists,” says Lang.

“Le Brun sought out the powerful and the rich and the famous. The sitters were more important than the painting.”

The 90 paintings on loan from institutions such as the Louvre, the Château de Versailles and the State Hermitage Museum in St. Petersburg include her massive, official family portrait of Marie Antoinette and her family, never before exhibited outside Paris, self-portraits up until the age of 55 and oodles of beauties of the ancien regime.

Their pristine milky complexions, red cheeks, heart-shaped faces, sensuous lips and opulent dresses indicate none of the politics of the time or the fate awaiting Louis XVI’s court.

These, as well as Le Brun’s many Russian portraits, are gorgeous in the artist’s use of light and shadow with many faces shadowed by elaborate hats, in her saturated colours and in her astonishingly exquisite detail in lace, ribbons, plumes of white feathers, lavish fabrics, opalescent pearls and ubiquitous roses, a symbol for grace and femininity as well as Marie Antoinette’s favourite flower.

Le Brun renewed the official portrait genre, says Lang, by “bringing an ambiguity between the official and private portrait.” He cites her intimate, three-quarter portrait of a gently smiling Charles Alexandre de Calonne, controller general of finances, where white powder is visible on his shoulder. “You never see that in an official portrait.”

Le Brun was able to capture fleeting emotional states and her subjects often smile directly at the viewer, which was frowned upon.

“She is really also a colourist,” says Lang, noting Le Brun’s 1785 painting of the baronne de Crussol de Florensac.

This beautiful young woman, whose head turns as she is caught reading the score of a Gluck opera, sits on a green Louis XV bench and wears a lush red silk dress trimmed in black velvet and fur. “The red and green, complementary colours, it’s like what Monet would do 60-70 years later. She had this sense of colour and it’s very daring, sometimes it’s at the edge of what works — incredible.”

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The Marquise de Pezay and the Marquise de Rougé with Her Two Sons, 1787, oil on canvas, 123.4 x 155.9 cm. National Gallery of Art, Washington.

Lang’s favourite work is a 1787 group portrait of the Marquise de Rouge, wearing a shimmering blue-bronze dress with a giant gold ribbon, with her two sons and her close friend the Marquise de Pezay. Both women, who were widows, were regulars at Le Brun’s pre-revolution musical soirees and are painted with great intimacy against a lush landscape.

“It’s the only group portrait and it’s the first time she uses a landscape before exile. You see all her qualities. She is looking at Domenichino, at Rubens, at Reynolds, and it’s for me an allegory of friendship and maternal love.”

In the last years of her life, Le Brun worked on her memoirs and painted less while keeping up with entertaining. Before she died she saw the invention of the daguerreotype as spelling the end to painted portraiture.

The frozen black and white stares from the earliest stages of photography are lifeless compared to her vital art, that still speaks to us in its beauty and painterly skill albeit with an eerie hindsight, over 200 years later.

IF YOU GO: Elisabeth Louise Vigée Le Brun (1755-1842), organized by the National Gallery of Canada, Ottawa, The Metropolitan Museum of Art, New York, and the Réunion des musée nationaux–Grand Palais, Paris, has already been a hit in Paris and New York and is at its only Canadian venue and last tour stop. It runs to Sept. 11 at the National Gallery of Canada. Tickets range from $7 for youth to $16 regular with children 11 and under admitted free.

It includes a dress-up area with hats and wigs, a great film on the artist at the exhibit’s end, souvenir items in the regular gallery gift shop and the complementary exhibit, The White Dress: Masterpiece in Focus, to Sept. 25, based on Le Brun’s controversial portrait of Marie Antoinette in a chemise instead of court dress, and about the evolution of the chemise and other changes in fashion.

Also on exhibit at the National are Joseph Beuys, of 15 sculptures and drawings by the famous conceptual artist who visited the Nova Scotia College of Art and Design in the 1970s, to Nov. 27, and Picasso: Man and Beast, The Vollard Suite of Prints, to Sept. 6.

by Elissa Bernard

Source: LOCALXPRESS.CA

VIGÉE-LEBRUN, PEINTRE DE LA REINE, ARRIVE AU CANADA

Élisabeth-Louise Vigée-Lebrun est la définition même de l’artiste victime de son succès. Peintre favorite de Marie-Antoinette, elle doit fuir Paris dans la nuit du 5 octobre 1789, au même moment où la famille royale est conduite de force dans la capitale. C’est la fin du faste héliocentrique de Versailles, et ainsi, de l’illustre position de madame Lebrun au sein de la cour de France. Mais si sa réputation de proche de la reine la plus impopulaire de l’histoire lui ferme les portes d’un royaume, sa renommée d’artiste lui en ouvre bien d’autres. Son exil hors du royaume de France sera long, quoique certes pas des plus déplaisants puisqu’elle sera reçue avec tous les honneurs à la cour de Catherine II de Russie, en Italie, en Angleterre ou encore en Autriche.

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Célébrée pour sa beauté et son esprit avant que la Révolution ne la chasse, c’est toutefois ses talents de portraitiste qui achèvent de lui assurer une situation à la cour. Elle est tout particulièrement vantée pour ses portraits féminins, tant ses toiles qui toujours restent au plus près du naturel apparaissent douces et personnelles, et surtout flatteuses pour le modèle. Ses portraits ne sont guère conventionnels, et cette représentation de Marie-Antoinette vêtue d’une chemise de coton, ou cette autre où elle la peint en présence de ses enfants, ne manquent pas de faire froncer les sourcils : la reine n’est pas une femme en négligé ou une mère ; la reine est la reine ! Sa virtuosité lui vaudra néanmoins une place à l’Académie royale de peinture et de sculpture et une véritable reconnaissance de ses talents dans un monde d’homme où la femme reste généralement cantonnée au rôle de modèle.

Plus de 90 œuvres de Vigée-Lebrun sont actuellement visibles pour la première fois au Canada, à la National Gallery d’Ottawa, jusqu’au 11 septembre 2016. Quant aux œuvres que vous n’y trouverez pas, cherchez-les dans Vigée-Lebrun dans la collection Mega Square, chez Parkstone International.

Vigée Le Brun exhibit to bring faces of French aristocracy to Ottawa

‘She’s probably the most important woman artist France ever produced,’ says curator.

Élisabeth Louise Vigée Le Brun (1755–1842) Woman Artist in Revolutionary France opens on Feb. 15 in New York City's Metropolitan Museum of Art. (CBC)
Élisabeth Louise Vigée Le Brun (1755–1842) Woman Artist in Revolutionary France opens on Feb. 15 in New York City’s Metropolitan Museum of Art. (CBC)

She was the favourite painter of Marie-Antoinette, and other members of the French royal court, capturing the last vestiges of a gilded age before the revolution.

Once the most celebrated woman artist in Europe in her time, Élisabeth Louise Vigée Le Brun’s reputation gradually faded from the history of art.

A major traveling retrospective is hoping to change that.

Élisabeth Louise Vigée Le Brun (1755–1842) Woman Artist in Revolutionary France was originally mounted in the Grande Palais in Paris — now it is set to open at the Metropolitan Museum of Art in New York, on Monday, Feb. 15.

Exhibit traveling to Ottawa in June

A self-portrait by Élisabeth Louise Vigée Le Brun (1755–1842). ( Galleria degli Uffizi, Corridoio Vasariano, Florence (1905))
A self-portrait by Élisabeth Louise Vigée Le Brun (1755–1842). ( Galleria degli Uffizi, Corridoio Vasariano, Florence (1905))

Following that, it will move to the National Gallery of Canada in Ottawa in June. Many of the paintings have never left France before.

“She got short shrift in the great histories of 18th century painting,” said Joseph Baillio, curator of the exhibition, “Great women artists were not recognized for what they were.”

Baillio was speaking at the media preview for the exhibition in New York.

“She is probably the most important woman artist that France ever produced. She’s not a well known painter because most of her pictures were in private collections. She was only rediscovered at the beginning of the 20th century,” said Baillio.

“A painter like Renoir would not have known of her, but he would have loved her,” he said.

‘An extraordinary technician… a magnificent colourist’

Vigée Le Brun painted more than 600 portraits, lush, warmly coloured, intimate reflections of European aristocracy.

She fled France for Italy during the French Revolution, where she continued to capture the faces of nobility.

Baillio says Ottawa art lovers are in for a treat.

“This show is going to show her at her finest. You get some really splendid examples and when they are in perfect condition you can see what an extraordinary technician she was….

“[She was] also the greatest colourist with [French painter Jean-Honoré] Fragonard at the end of the 18th century. She was a magnificent colourist.”

The retrospective of Élisabeth Louise Vigée Le Brun (1755–1842) runs at the National Gallery of Canada from June 10, 2016 to Sept. 11, 2016.

by Sandra Abma

source: CBC News

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LE SCANDALE DE « MARIE-ANTOINETTE ‘À LA ROSE’ »

[…]

En 1783, Vigée-Lebrun peint un portrait de Marie-Antoinette beaucoup plus simple, sans doute conforme aux tenues que la jeune souveraine privilégiait à Trianon, libérée de l’étiquette. Marie-Antoinette apparaît en gaulle ! Comprenez qu’elle est vêtue d’une robe de mousseline, simple et légère comme une chemise. La tenue est complétée par un chapeau de paille et la jeune femme semble saisie sur le vif, presque à son insu, composant un bouquet de roses ! Scandale lorsque la toile est exposée ! On s’écrie qu’une femme de chambre ne serait pas habillée autrement. Scandale certes, mais accompagné d’un grand succès car chacun veut avoir son portrait par Vigée Lebrun dont les finances deviennent florissantes.

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D’après Vigée Lebrun, Marie-Antoinette, 1783, huile sur toile (93 x 73 cm), National Gallery of Art, Washington

Toujours est-il que le tableau est retiré et qu’un nouveau portrait est exécuté. La reine choisit cette fois une robe de soie et de dentelle, elle est parée de ses perles et munie d’un chapeau décent !

Ces deux dernières toiles sont donc deux représentations opposées de la reine, jeune femme avide de liberté ou princesse majestueuse, mais remarquez leur ressemblance : la composition est la même : mêmes positions du corps, du visage, du bras. Et même petit bouquet de roses que la reine est en train de nouer du même ruban. Malgré ces ressemblances, la portée des deux portraits est bien différente et le public et la cour sont soulagés de retrouver une souveraine royale et conforme à l’étiquette. Ouf, la morale est sauve et la monarchie garde la tête sur les épaules, au moins pour quelques années encore …

Vigée Lebrun, Marie-Antoinette à la rose, 1783, huile sur toile (113 x 87 cm), château de Versailles
Vigée Lebrun, Marie-Antoinette à la rose, 1783, huile sur toile (113 x 87 cm), château de Versailles

Source: Les humeurs de Sophie

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French Revolutionary Artist Vigee Le Brun Reigns Supreme at the Met

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Though she was Marie Antoinette’s favorite portrait painter, Elisabeth Louise Vigee Le Brun (1755-1842) was not a queen herself.  She was, however, an extraordinarily gifted artist.  Beautiful, witty, unassuming and largely self-taught, she is arguably the finest of 18th century French portrait painters and to her credit—through a long and illustrious career—she kept her head.

The Metropolitan Museum of Art’s current exhibit, Vigee Le Brun: Woman Artist in Revolutionary France, fast on the heels of its showing at the Grand Palais in Paris, is long overdue.  Katherine Baetjer, Curator in the Department of European Paintings, remarked to Roberta Smith in the New York Times’ own coverage, that it was the first time in her 40 years in the Department that a monographic exhibition has been held for a woman artist.  Better late than never, this first time retrospective of 79 portraits and one landscape will leave little doubt that the viewer is in the presence of true genius.

Vigee was the daughter of an accomplished pastel portraitist, who helped to guide her precocious talents.  It was a lucky stroke, for when he died when she was only 12 years of age, she was quick to contribute to the family’s support.  Upon first entering the exhibit, a trio of family portraits reveals a remarkable sensitivity toward her sitter.  The portrait of her mother shows a trusting, genteel fatigue, while the brother is confident, totally at ease with his school book and tri-cornered hat.  Even her stepfather, an ambitious playwright whom she suspected of hoarding her income, exhibits a benignly relaxed countenance.  By 19, she was exhibiting publicly and two years later, married to Jean Baptiste  Pierre Le Brun, the principal art dealer in 18th century Paris.  It’s interesting to note the dealer’s self-portrait included here, proudly posed with an artist’s palette, appearing every bit the artistic dandy of his day.

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Though the marriage was beneficial to both, producing one daughter, Vigee Le Brun was denied access to the prestigious Academie royale due to her husband’s profession as a dealer.  Such association with the trade was strictly prohibited.  It was only through the intervention of Marie Antoinette and Louis XVI that the painter was allowed access, and a large, symbolic canvas, Peace Bringing Back Abundance, was her reception piece in the 1783 salon.  It’s an eye-catching example of her mastery of the female form, the figure of  abundance greets the viewer with exposed breast and  a cornucopia of fruit placed nearby.  But the figure of Peace hovering overhead with a dramatic sweep of emerald green cape gives a feeling of high drama to the whole composition.

Not surprisingly, some of the biggest crowd-pleasers are the three life-size portraits of Marie Antoinette.  The first to greet visitors, Marie Antoinette in Court Dress, was the result of the Queen’s summoning of the young 23-year-old artist to Versailles.  It was specifically commissioned for the queen’s mother, Empress Marie Theresa of Austria who wanted to see her daughter in royal splendor. The portrait is predictably grand, with a perfect mastery of attitude and dress in every stroke.  In all of the portraits, the subject exhibits the Hapsburg trait of a long narrow face and full lower lip, yet the painter was impressed with the queen’s carriage and said that “she walked better than any other woman in France.”

More intriguing are the paired portraits of the queen shown together for the first time—one in a simple pastoral setting wearing a white muslin frock and the other a corseted formal portrait, more befitting her role.  It’s hard to imagine today the scandal and uproar the informal portrait created—the pose is practically identical—but it was soon removed from display. (A trip to Versailles for any visitor curious about daily life for the royal inhabitants must include a train ride to Le Petit Trianon, the farm created for the queen in her role as shepherdess.)

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One of Vigee Le Brun’s favorite poses for her aristocratic sitters was an over-the-shoulder glance at the viewer, a pose ideal for projecting a moment frozen in time.  One such example is the fetching Baronne de Crussol Florensac (1785) interrupted in her studies of a musical score.  It’s easy to imagine in a great many of these portraits that painter and subject were in the throes of sharing an intimate and joyful afternoon together.  Was it the artist’s intent or the ebullient nature of her subject?  She once admitted that “I painted them as dreamers and nonchalantly intent.”

The only portrait that stands out in obvious contrast is one depicting the writer Madame de Stael. Painted in the guise of Corinne, one of her more famous literary creations, it’s perhaps the only singularly unflattering portrait in the exhibit—an open mouthed, toothy impression, looking heavenward with lyre in hand, it’s an effectively eye-catching rendering but one rejected by the author.

Vigee Le Burn also exhibited a talent for self-portraiture not easy to achieve, even for the most adept.  My favorite on display, Self Portrait with Cerise Ribbons (1782) is a beautiful study of a young woman, confident in her grace and intelligence, yet exhibiting an unaffected openness.  She has chosen the contrasts of red and black hues, the black hat setting off the luminous face, the drop earring a perfect point of focus.

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She could be just as adept in her portrayal of children and not to be missed is a charming portrait of her daughter Julie.  The subject is in profile, holding an angled mirror with her reflection seen in full-face.  It’s not only a totally captivating portrait but one that shows the great love and trust she must have shared with the child.

A major showstopper is surely Marie Antoinette and her Children (1787).  It’s a grand majestic painting, with the queen surrounded by her brood in a powerful, triangular composition.  Never one to forego a helpful suggestion, the painter had sought out Jacques Louis David’s advice at the outset.  The image of the young Dauphin pointing to an empty crib in the background is bittersweet, perhaps referring to the youngest offspring who had died at 11 months.

Such a close association with the queen forced Vigee Le Brun in 1789 to flee France.  While violence raged in her home country, she was quickly embraced by those who could afford her talents.  Traveling to Italy with daughter Julie, she was elected to membership in the Accademia di San Luca in Rome.  While she often worked independently, she was commissioned by the queen of Naples whose daughter Maria Louisa is on view.  Napoleon’s sister Caroline was a sitter as were several of the royalty in Vienna.  One of her most successful sojourns was the six years she spent in Russia where the family of Catherine the Great was only too happy to take advantage of her artistry.

The glitter and glamour of Russian society was obviously to her liking.  A portrait of the Countess Varvara Nikolayevna Golovina dramatically clutching her red stole against the cold, has an unmistakable boldness.  Likewise, a portrait of the young Tolstoy, draped in a rich crimson cape against a bare background, benefits from the singular focus on its subject.  The male subject hardly received short-shrift from the painter and a vibrant and powerful portrait of Stanislaw August Poniatowski, formerly King of Poland, attests to this fact.

There are additional delights in this sumptuous exhibit worth mentioning.  The only landscape,  The Festival of the Shepherds at Unspunnese, was painted near Interlaken, Switzerland and a careful look will reveal the artist with her sketchbook in the foreground.  A series of pastels includes a sketchy self-portrait in broad brimmed hat and curls reminiscent of Boticelli’s mythical beauties.

Vigee Le Brun would enjoy 40 more productive years upon her return to France, giving a detailed account of art and life in post-revolutionary Europe in her journals.  If international recognition for this major artist has been slow in arriving, the Met’s impeccable exhibit is well worth the wait.  The Musee National des Chateaux de Versailles et de Trianon, the Kunsthistorisches Museum in Vienna, the Musee du Louvre and Her Majesty Queen Elizabeth II are also responsible in no small measure for its success.

The exhibition is on view through May 15, 2016.

by Sandra Bertrand

Source: Highbrow Magazine

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The Met’s Enigmatic Red Shawl, Inspired by Revolutionary France Painter Vigée Le Brun

Elisabeth Louise Vigée Le Brun, Countess Varvara Nikolayevna Golovina, Ca. 1797-1800 Photo: The Henry Barber Trust, The Barber Institute of Fine Arts, University of Birmingham
Elisabeth Louise Vigée Le Brun, Countess Varvara Nikolayevna Golovina, Ca. 1797-1800 Photo: The Henry Barber Trust, The Barber Institute of Fine Arts, University of Birmingham

Elisabeth Louise Vigée Le Brun was a pretty tough chick.  This gifted portraitist, born in 1755, showed enormous early talent as a painter, but it was hard (then as now!) for young women like her to be taken seriously. She married Jean Baptiste Pierre Le Brun, an art dealer who by reports was a bit of a sleazy gambler, in 1776, and this didn’t exactly hurt her career.

Le Brun is being honored with a major exhibition that opened today at the Metropolitan Museum of Art, and though the show is subtitled “Woman Artist in Revolutionary France,” she in fact hightailed it into exile as soon as things got hot.

And could you blame her? Before she fled the scene, Le Brun made her reputation specializing in painting the sorts of aristocratic types who liked to pose as peasant girls and grape gatherers. Her favorite subject was none other than Marie Antoinette, whom she rendered variously in a chemise dress, with a rose, wearing a blue velvet frock, helping pick up Le Brun’s paintbrushes (!), and with her kids in an enormous 108 1⁄4-by-85 1⁄4-inch oil-on-canvas that is maybe some kind of masterwork.

Was it any surprise that when the people of Paris took to the streets there were targets on Le Brun’s subjects’ backs, causing the artist to depart, first to Italy and then to Russia and Austria, before finally making it back to Paris in greatly reduced circumstances?

For some reason lost in the mists of time, Le Brun kept a red shawl in her studio and draped it around a variety of her subjects. It shows up as a sash in a self-portrait; enhancing the gowns of Countess von Bucquoi and Princess Yusupova; fluttering behind the artist’s daughter in Julie Le Brun as Flora; and encircling Count Emmanuel Nikolayevich Tolstoy in 1823.

The Met Store has chosen to reproduce this item, which it calls the Palmette Border Jacquard Shawl, in conjunction with the exhibition, and at $95 it is very nice (and who doesn’t like a souvenir for trooping all the way up to 81st Street?).

Now if only they would make me a shredded tutu in honor of Degas’s LittleDancer.

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A 1790 self-portrait of Elisabeth Louise Vigée Le Brun. Photo: Galleria degli Uffizi, Corridoio Vasariano, Florence (1905)

by Lynn Yaeger

Source: Vogue

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