Marie Louise Elisabeth Vigee-Lebrun's unique painting "Julie Le Brun with a Mirror" forms many topics to discuss. The topics included are basic information of the artist, her art style(s), the events taken in the year the portrait of her daughter was painted, as well as my own opinion. She has created over 600 portraits and landscaping pictures, coming very far with her paintings, becoming rich, and one of the best, well-known female artists of the 18th century. Today, some of her works can be found in famous museums across Europe and the US.
Madame Lebrun was born in Paris, France April 16th, 1755, daughter of painter Louis Vigee and hairdresser Jeanne Vigee. Her father gave her first instruction of painting. Early teens and picking up her father's skill, she was considered to be a professional painter, collecting lots of money from it. As she grew up, she painted many portraits for nobilities and the royals, like Marie Antoinette, the Queen of France, and the Prince of Nassau. After many, many years of successful painting, she died at the age of 86 on March 30, 1842.
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She had committed a minor illegal act with one of her portraits of herself. She was smiling with her mouth opened, causing the public to be outraged! Another event was the signing of Edict of Versailles, which was the act of allowing non-Catholics to practice their religion with peace. Next, the signing of Treaty of Versailles. This is when the French and the Vietnamese allianced. There hasn't said to be a reason to paint this portrait of her daughter, rather than to admire her
Perhaps the most highly regarded of all Canadian portraits, the rendering of this mysterious woman sparks our curiosity through her captivating eyes and coy smile. She reappears in many of Varley’s paintings, and photographs by John Vanderpant, and later Harold Mortimer Lamb. An inspirational muse to many famous Canadian artists, her own worth as an artist is often underrated.
An influential American printmaker and painter as she was known for impressionist style in the 1880s, which reflected her ideas of the modern women and created artwork that displayed the maternal embrace between women and children; Mary Cassatt was truly the renowned artist in the 19th century. Cassatt exhibited her work regularly in Pennsylvania where she was born and raised in 1844. However, she spent most of her life in France where she was discovered by her mentor Edgar Degas who was the very person that gave her the opportunity that soon made one of the only American female Impressionist in Paris. An exhibition of Japanese woodblock Cassatt attends in Paris inspired her as she took upon creating a piece called, “Maternal Caress” (1890-91), a print of mother captured in a tender moment where she caress her child in an experimental dry-point etching by the same artist who never bared a child her entire life. Cassatt began to specialize in the portrayal of children with mother and was considered to be one of the greatest interpreters in the late 1800s.
Louise Bourgeiois was born in Paris in 1911 and lived in New York until her death in 2010. Much of her artwork was inspired from her early childhood that she spent in France. The human body was Burgoeiois primary form of art, as she made multipe sculptures
Next they go into further detail about the history of the painting of Adele Bloch-Bauer. They say that it was described as the “Mona Lisa” of the Austrian people to whom it belonged to.
The composition of this painting forces the eye to the woman, and specifically to her face. Although the white wedding dress is large and takes up most of the woman’s figure, the white contrasts with her face and dark hair, forcing the viewer to look more closely into the woman’s face. She smokes a cigarette and rests her chin on her hands. She does not appear to be a very young woman and her eyes are cast down and seem sad. In general, her face appears to show a sense of disillusionment with life and specifically with her own life. Although this is apparently her wedding day, she does not seem to be happy.
In the Wallach Gallery exhibition of Anna Hyatt Huntington’s sculpture (1876-1973), the viewer gets to discover different versions of the emblematic figure that is Joan of Arc, from small bronze medals, to much bigger works of art. A digital replication of the initial statue that was unveiled at Riverside Drive and 93rd Street in December 1915 is also available the public in the gallery. The success of the Joan of Arc – or The Maid of Orleans’s depictions results from the symbol that she fosters in European and American culture: a French medieval patriotic heroine who received visions directly from God and who was told to help France combat the English domination and who died burned at the stake, as a martyr.
Elisabeth Vigée-Lebrun was one of the most successful painters of her time. Over the course of her life, spanning from 1755-1842, she painted over 900 works. She enjoyed painting self portraits, completing almost 40 throughout her career, in the style of artists she admired such as Peter Paul Rubens (Montfort). However, the majority of her paintings were beautiful, colorful, idealized likenesses of the aristocrats of her time, the most well known of these being the Queen of France Marie Antoinette, whom she painted from 1779-1789. Not only was Elisabeth Vigée-Lebrun the Queen’s portrait painter for ten years, but she also became her close, personal friend. She saw only the luxurious, carefree, colorful, and fabulous lifestyle the aristocracy lived in, rather than the poverty and suffrage much of the rest of the country was going through. Elisabeth kept the ideals of the aristocracy she saw through Marie Antoinette throughout her life, painting a picture of them that she believed to be practically perfect. Elisabeth Vigée-Lebrun’s relationship with Marie Antoinette affected her social standing, politics, painting style, and career.
“Joan of Arc,” was painted by the French realist artist Jules Bastien-Lepage in 1879. “After the province of Lorraine was lost to Germany following the Franco-Prussian War in 1821, The Frenchmen saw in Joan of Arc a new and powerful symbol. In 1875, Bastien-Lepage, a native of Lorraine began to make studies for a picture of her. In the present painting, exhibited in the Salon of 1880, Joan is shown receiving her revelation in her parents garden. Behind her are Saints Michael, Margaret, and Catherine. (Caption next to painting in The Metropolitan)”
Art could be displayed in many different forms; through photography, zines, poetry, or even a scrapbook. There are many inspirational women artists throughout history, including famous women artists such Artemisia Gentileschi and Georgia O’Keeffe. When searching for famous female artists that stood out to me, I found Frida Kahlo, and Barbara Kruger. Two very contrasting type of artists, though both extremely artistic. Both of these artists are known to be feminists, and displayed their issues through painting and photography. Frida Kahlo and Barbara Kruger’s social and historical significance will be discussed.
The painting depicts two figures, the one of a woman and of a man. The dominating central figure is the one of the woman. We see her profile as she looks to the left. Her hands are crossed in a graceful manner. She has blonde hair and her figure is lit by what seems to be natur...
Julia Margaret made it her duty to show her subjects in the light of their potential immorality and it shows beautifully in her work.Julia Margaret Cameron was an English woman with a remarkable talent for photography and who created brilliant photographs that captured moments of emotional intensity. She rejected the meticulously observed and highly defined detail of the artisan photographers, yet there was nothing eccentric or amateur in her approach.
Joan of Arc (Jehanne Darc) was born January 6th, 1412 in a little village of Domremy, France. She grew up as a faithful Catholic and a sweet, respectful maiden girl. According to a prediction, a young maiden girl would save France and sure enough Joan would be that girl. Starting at age twelve, she began having visions of different Angels and hearing voices from the Saints and God himself. And with these orders, she made a sacred promise to always stay a virgin and disobeyed her father even though he warn her not to be influence by this craziness. By the time she was nineteen, she was up on trial for claims of witchcraft even though she saved France. Throughout her adventures, she inspired others and showed she was no different even though she was a girl.
The stories say that she claimed to be told by God to drive out the English. With that, she led her army into victory. Her success gave France a national identity and she is now a symbol for her country. The painting in the picture shows how art did not diminish during the “Dark Ages”. It also shows her as a religious and political figure. You can see that they use Green and Roman ideas in the picture by the style. You can see it by how they detail her face that it has Roman input and the coloring is more of a Roman style. This shows that they continue to put Greek and Roman ideas into their
It differs greatly, in its portrayal of mothers, from Le Brun’s Self-portrait with her Daughter and Cassatt’s artworks. Behind Marie Antoinette, you see a jewelry cabinet, off to the right of the canvas. This illustrates that, although she is with her children, she finds treasure within her own materialistic objects. Furthermore, her expression lacks emotion as she holds the child loosely within her arms. The child looks off, barely acknowledging its mother, who is holding him. Next, the child, on the far right of the canvas, reveals an empty cradle, alluding to a child who has died. Again, Marie seems unfazed or simply chooses not to acknowledge the boy’s actions. Furthermore, the young girl, on the right of the canvas, clings on to her mother as she lovingly looks up to her mother. Marie holds a wry smile, appearing somewhat annoyed or displeased. The color scheme is dark, but Le Brun utilizes contrast to emphasize the royal family. However, it only works to further expose the detached relationship between a Marie and her children. According to the lecture, “To counter people’s hatred of the queen and their criticisms of her as a bad (even a degenerate) mother, Vigée Le Brun was commissioned to paint this portrait of Marie Antoinette and her children” (Gartrell). Sadly, the painting was
Working at her father’s clothing shop, she became very knowledgeable about expensive textiles and embellishments, which were captured in her works later in career. She was able to capture the beauty and lavishness of fabrics in portraits of aristocratic women.