Vigee Le Brun Essay, Research PaperElizabeth-Louise Vigee-Le Brun:& # 8220 ; An Exceptional Woman of the Eighteenth Century & # 8221 ;Busyness 2234, E001 & A ; E005Ms. SchwamFebruary 24, 2000& # 8220 ; Research Paper & # 8221 ;Elizabeth-Louise Vigee-Le Brun is noted as a really outstanding woman/artist in theWorld of the Eighteenth Century art. She is known for her work as a portrayal painter. Her most celebrated plants are included in the series that she had painted at age 24 of Queen Marie-Antoinette. Vigee-Le Brun was a adult female of so many endowments.

Before she died at 87 old ages old, she was an complete creative person, exceeding instrumentalist, and a loving female parent to her girl Julie. Vigee-Le Brun was an remarkably unattractive adult female. She was capturing and self-assured with an ability to show her Sitters & # 8217 ; personas most well. Vigee-Le Brun was really reputable because she managed to maintain her caput and professional repute in a clip of political turbulence. ( Gallic Revolution ) . This allowed her to derive celebrity in France, Italy, Austria, and Russia. Vigee-Le Brun was such an endowed creative person that by the age of 15 she could hold supported herself and her household, if her financess weren & # 8217 ; t taken off from her by her stepfather and boisterous hubby.

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Just nine old ages subsequently she began her most celebrated portrayal series of Marie-Antoinette. This series included & # 8220 ; Marie-Antoinette and her kids at Versailles -1788, & # 8221 ; ( shown below ) the last portrayal of 30 that Vigee-Le Brun painted of the doomed queen. This picture still hangs at Versailles.

Louis XVI said to Vigee-Le Brun, & # 8221 ; I have no cognition of picture, but you make me fond of it. & # 8221 ; ( Levey 280 ) .Notice the painting shown on the pervious page. Vigee-Le Brun was a painter of the Rococo period.

Rococo is best described as an 18th century art manner that placed accent on portraying the unworried life of the nobility instead than on expansive heroes or pious sufferer. Love and love affair were considered to be better topics for art than historical or spiritual topics. The manner was characterized by a free, graceful motion ; a playful usage of line ; and delicate colourss. This is represented it the work & # 8220 ; Marie-Antoinette and her kids atVersailles -1788. & # 8221 ; To depict the work in great item you must first expression at Marie-Antoinette. Her skin color is really just and she is portrayed as an highly feminine adult female. Her muliebrity is besides shown by her frock. The frock is a rich, ruddy colour with a low neckline, and surrounded by lacing and threads.

This could stand for a & # 8220 ; life-line & # 8221 ; between Marie-Antoinette and the youngest of her kids because the babe male child is keeping on to it for support. All babes need to experience this intimacy with their female parents. Vigee-Le Brun could hold used that to demo Marie-Antoinette as a good motherly figure to the other female parents whom would hold seen this work.

Another symbol of her maternalism is shown because she is keeping her kids next to what could be the bed of one of the kids, most likely the babe & # 8217 ; s cot. The frock is harbouring a skirt that is more than plenty problem for Marie-Antoinette to manage in one twenty-four hours. This gown is a representation of the nobility and of a adult female & # 8217 ; s power. She is have oning a big, fiting chapeau with overbearing plumes. This is besides a representation of power.

The chapeau is a frequent feature in the series of Marie-Antoinette. Another feature of the series is shown by Marie-Antoinette & # 8217 ; s legs and pess being rested upon a really adorned pillow. This could demo that she was of the nobility and her pess should be above the soil on the floor.Now we move on to the kids in the picture. They are all have oning fancy apparels, merely as kids of the nobility would. The oldest kid is looking up with a regard in her eyes of esteem for her female parent. She looks as if she is being shown as a immature Marie-Antoinette. The immature girl’s frock is besides like that of her mother’s.

It excessively, is a deep ruddy colour with a little lineation of lacing and thread around the cervix. The frock has an added bow around the waist. This is done to demo the frock as a frock of less adulthood. The girl does look like a immature version of her female parent, yes ; but she can non be shown as excessively mature because she is still a immature lady.

The bow merely down plays the power because of the child-like feature. The babe male child in the image is, as noted in the first paragraph, keeping onto his female parent with an urgency to carry through the demand of the mother’s love and presence. The immature male child, the in-between kid, is standing following to the cot of the babe male child with his finger indicating to the cot of his younger brother. The immature male child has really nice position.

His garb is besides that of an blue kid. This is a symbol of strength and maleness. ( At least adequate for his age. ) All of the kids are nicely dressed and they all have really elaborate faces ; each is demoing a different look.

( An look that would associate to their ages. ) They are all really beautiful kids.& # 8220 ; [ It is ] hard to convey an thought today of the urbanity, the graceful easiness, in a word the affableness of manners which made the appeal of Parisian society forty old ages ago. The adult females reigned so: the Revolution dethroned them. & # 8221 ; Elisabeth Vig? e-Le Brun, 1835.The subject of the work is to portray Marie-Antoinette through Vigee-Le Brun & # 8217 ; s portrayal as mother-like to the other female parents and to the public whom would see her images.

Elizabeth-Louise Vigee-Le Brun & # 8217 ; s end through & # 8220 ; Marie-Antoinette and Her Children & # 8221 ; was to make an image of the Queen that would appeal to the common common people. The composing of the portrayal shows good dealingss between the kids and their female parent. The Rococo motion that is in drama through this work has that pallet of the typical Rococo picture. It demonstrates the soft colourss and a playful usage of the line. It shows the daintiness between each object and individual in the full work.Through the series of Marie-Antoinette & # 8217 ; s portrayals, Vigee-Le Brun had developed a relationship with the Queen.

This, of class, had its obvious advantages for Vigee-Le Brun. Through this relationship, Vigee-Le Brun was granted an credence into the Royal Academy. This was a great advantage for her because she was technically barred from the academy due to her hubby & # 8217 ; s profession. But, Vigee-Le Brun & # 8217 ; s relationship had made her presence around the Queen in France excessively unsafe because of the Revolution. Due to this, she and her nine year-old girl made a dramatic flight from Paris. Her timing was so close that the dark that she left was the same dark that Marie-Antoinette and Louis XVI were arrested. From this flight, she and her girl began twelve old ages of expatriate.

Throughout these twelve old ages, she once more captivated the aristocracy & # 8217 ; s attending with her plants. Her endowment once more gained her admittances into several academies.One quotation mark from a recent author serves as complete shutting for Elizabeth-LouiseVigee-Le Brun when her art is characterized as & # 8220 ; a conspicuous mistiming, epitomizing the concluding effort by Ancient Regime society to close its eyes to unwelcomed worlds, and to take safety in a universe of pretend and fancy dress. & # 8221 ; ( Heller 60 ) .5a3Fiero, Gloria. The Humanist Tradition: Faith, Reason, and Power in the Early Modern World. 3 rd erectile dysfunction.

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Women Artists: An Illustrated History. New York: Abbeville Publishing Group, 1991. 55, 58-66.Levey, Michael. Levey: Painting and Sculpture in France 1700-1789.

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