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allowed them to continue, she eventually agreed to send the two women away. Added to this inconvenience, she almost always broke our appointments, which meant my staying in Paris for the whole summer waiting, usually in vain, for her to appear, for I was eager to finish the painting; I cannot tell you how this woman tried my patience. Moreover the gap between sittings was so long, that each time she did appear, her hair was dressed differently. At the beginning, for example, she had curls falling onto her cheek and I painted them accordingly; but a little later this style had gone out of fashion and she returned with a completely different one; I then had to rub out the curls as well as the pearls on her bandeau and replace them with cameos. The same thing happened with the dresses. The first dress I painted was rather open, as was the fashion then, and had a great deal of bold embroidery; when the fashion changed and the embroidery became more delicate, I had to enlarge the dress in order not to lose the detail. Eventually all these irritations reached a pitch, and I became very bad tempered as a result; one day she happened to be in my studio and I said to M. Denon, in a voice loud enough for her to overhear: 'When I painted real princesses they never gave me any trouble and never kept me waiting.' Of course Mme Murat did not know that punctuality is the politeness of kings, as Louis XIV quite rightly remarked and he, at least, was no upstart.
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succession, throwing red hot rocks noisily on all sides. At the same time a cascade of fire ran down front the summit, covering an area of four to five miles. Another lower mouth of the volcano was also alight; this crater churned out a red and gold smoke, rounding off the frightening but wonderful spectacle. The thunderous noise that seemed to come from deep inside the volcano echoed around us, and the ground shook beneath our feet. I was quite frightened, but tried to hide my fear for the sake of my poor little daughter who was crying, `Maman, should I be afraid?'. But there was so much to admire that I soon forgot my fear. Imagine looking down over countless furnaces, whole fields swallowed by the blaze that followed in the wake of the lava. I saw bushes, trees, vines, consumed by this terrible rolling fire; I saw the fire rise up and die out, and I heard it eat its way through the surrounding undergrowth. This powerful scene of destruction is both painful and impressive, and stirs deep feelings within one's soul; I could not speak for a while on my return to Naples; on the road, I kept turning around to see the sparks and that river of fire once more. I was sad to leave such a spectacle; but I have the memory still, and every day I think on different aspects of what I saw. I have four drawings which I shall bring to Paris to show you. Two have already been mounted; we are very happy here.
3195:, whom she had known since he was seven years old and had painted his portrait when he was at that age, during which she had noticed an artistic inclination in the child. Upon her return to France she was surprised to find Gros had become a successful and famous painter, head of his own school of art. Gros was socially reclusive, and often brusque to others, but he formed a close bond with Vigée Le Brun, who wrote: "Gros was always a man of natural impulses. He was prone to feel the keenest sensations and would become equally passionate over a kind action or a beautiful work of art. He was ill at ease in society, rarely breaking the silence in a crowded place, but he listened attentively and replied with his gentle smile, or by a single word, always very apt. To appreciate Gros, one had to know him intimately. Then he would open up his heart, a kind and noble one at that; some people reproached him for having a certain brusqueness of tone, but this disappeared entirely in private. His conversation was even more fascinating because he never expressed himself in the same way as other men; always finding the most unusual and powerful images to convey a thought, you might almost say he painted with words."
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showed the Virgin, sitting among the clouds. holding the infant Jesus in her arms. Her face is so beautiful and so noble that it is worthy of the divine brush that painted it. The face of the child, which is charming, bears an expression both innocent and celestial; the robes are accurately drawn and painted in the most magnificent colours. To the right of the Virgin stands a saint who seems quite real; his hands in particular merit admiration. To the left stands a young saint, her head bowed, watching two angels at the base of the painting. Her figure is full of beauty, candour and modesty. The two small angels lean upon their hands, their eyes lifted to the characters above them, and their heads bear an ingenuity and sensitivity that words alone cannot express. Having stood for some time gazing in awe at this painting, I had to pass it yet again on my way out, returning by the same route. The best paintings by the great masters had lost some of their perfection in my eyes, for I carried the image of that wonderful composition and that divine figure of the Virgin about with me! In Art nothing can compete with noble simplicity, and all the faces I viewed subsequently seemed to wear a sort of grimace.
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1354:, but soon afterwards left this apartment due to the nightly habits of young men and women of singing in the streets at the night. She departed and found a third home, which she carefully scrutinized, then paid one month's worth of rent in advance. On her first night there, she was awoken by a loud noise behind her bed caused by water being pumped through pipes to wash the laundry; a nightly occurrence. She quickly left this home as well to continue her search for quiet lodgings. After a painstaking search, she found a private mansion where she was told she might be able to rent an apartment. She lodged herself there but found it completely unsavory due to the filthiness of its rooms, its poor insulation and a rat infestation in the wooden paneling. Finding herself at her wit's end, she was forced to stay there for six weeks before seeking a new home suitable to her needs. She eventually found a house which seemed perfect, but she refused to pay rent until she had spent a night there; she was immediately woken up by noise caused by a worm infestation in the joists of her room. She left this house as well, later writing; "
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785:, followed by a group portrait of the ambassador and his son. After finishing the portraits and leaving them with the ambassadors to dry, Vigée Le Brun sought their return in order to exhibit them in the Salon; one of the ambassadors refused the request, stating that a painting "needs a soul", and hid the paintings behind his bed. Vigée Le Brun managed to secure the portraits through the ambassador's valet, which enraged the ambassador to the point that he wished to kill his valet, but he was dissuaded from doing so as "it was not custom in Paris to kill one's valet". She falsely convinced the ambassador that the King wanted the portraits, and they were exhibited in the Salon of 1789. Unknown to the artist, these ambassadors were later executed upon their return to Mysore for failing in their mission to forge a military alliance with Louis XVI. After her husband's death, the paintings were sold along with the remnants of his estate, and Vigée Le Brun did not know who possessed them at the time she wrote her memoirs.
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616:, on the Rue de Cléry where they lodged. Élisabeth visited M. Le Brun's apartments frequently to view his private collection of paintings, which included examples from many different schools. He agreed to her request to borrow some of the paintings in order to copy them and improve her skills, which she saw as one of the greatest boons of artistic instruction she had received. After residing in the Hôtel de Lubert for six months, M. Le Brun asked for the artist's hand in marriage. Élisabeth was in a dilemma as to whether to agree or refuse the offer; she had a steady source of income from her rising career as an artist and her future was secure; as such, she wrote, she had never contemplated marriage. On her mother's urging and goaded by her desire to be separated from her stepfather's worsening temperament, Élisabeth agreed, though her doubts were such that she was still hesitant on her wedding day on 11 January 1776; she was twenty years old. The wedding took place in great privacy in the
1896:, captured the city shortly after she had left it. Le Brun had been repeatedly warned by M. Sacaut, the embassy secretary, to withdraw her money from the bank, foreseeing that French Republican troops might attack the city. The artist dismissed his warnings as 'a republic would never attack another republic'; nevertheless Napoleon later issued an ultimatum to the city to submit, and French troops entered the city. As Venice was looted, General Buonaparte had instructed the banker to spare Le Brun's deposit and afford her an annuity, but the orders were not carried out in the chaotic predicament of the city, and all that reached Vigée Le Brun were two hundred and fifty francs out of an original deposit of 40,000. During her travels in Italy, her name was added to the list of émigrés, losing her French citizenship and having her property scheduled for confiscation. M. Le Brun attempted to have his wife's name struck from the list of émigrés at this juncture by appealing to the
1132:. The journey over the mountains was tortuous enough that she walked part of the way, and arrived in Bologna very tired. She wished to stay there at least one week to visit the local galleries and the Bologna arts school, which hosted some of the finest collections of old master paintings, but the innkeeper where she was residing had noticed her unloading her luggage, and informed her that her efforts were in vain, as French citizens were "allowed to reside in that city for only one night". Vigée Le Brun despaired at this news, and was fearful when a man clad in black arrived at the inn whom she recognized as a papal messenger, and assumed he was delivering an order to leave within the next twenty-four hours, She was surprised and elated when she realized that the missive he carried was permission for her to stay in Bologna as long as she pleased. At this juncture, Vigée Le Brun became aware that the Papal government was informed of all French travelers who entered Italy.
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Russian campaign both distressed and revolted me; one of the later ones spoke of the loss of thousands of French soldiers and added that the
Emperor had never looked so well! We read this bulletin at the home of the Bellegarde ladies, and felt so angry that we threw it on to the fire. The fact that the people were tired of these interminable wars is easily attested by their lack of enthusiasm during the Hundred Days. More than once I saw Bonaparte appear at his window and then retire immediately, furious no doubt, for the acclamation of the crowd was limited to the shouts of a hundred or so boys, paid, I believe, as an act of derision to chant long live the Emperor! There is a sharp contrast between this indifference and the joyful enthusiasm which greeted the King on his entry into Paris on the 8th of July 1815; this joy was almost universal, for after the many misfortunes incurred by Bonaparte, Louis XVIII brought only peace.
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redder as the sun sank: the other mountains between them formed a complete color spectrum; gold rays stretched across the mountain to my left, each carrying a rainbow in its arc; the sun set behind the peak; red-violet mountains grew imperceptibly fainter and fainter in the distance, stretching away to the lake of Biel and the far edge of Lake
Neuchatel., they stood so far apart that you could only distinguish them by two gold lines. heavy with translucent mist; I was still overlooking the deep ravines and mountains covered with thick foliage; at my feet lay wild valleys surrounded by black pine forests. As the sun set, I watched the shadows change; different points took on a more sinister character, partly because of their shape and partly because of that long silence which slips harmoniously into the day's demise. All I can tell you is that my soul gloried in such a solemn and melancholy vision.
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887:, on the right is pointing to an empty cradle, which signified the Queen's recent loss of a child, further emphasizing Marie Antoinette's role as a mother. Vigée Le Brun was initially afraid of displaying this portrait due to the Queen's unpopularity and fear of another negative reaction to it, to such a degree that she locked herself in at home and prayed incessantly for its success. However, she was soon greatly pleased at the positive reception for this group portrait, which was presented to the King by M. de Angevilliers, Louis XVI's minister of arts. Vigée Le Brun herself was also presented to the King, who praised the painting and told her "I know nothing about painting, but I grow to love it through you". The portrait was hung in the halls of Versailles, so that Marie Antoinette passed it on her way to mass, but it was taken down after the
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479:, who mostly specialized in painting with oils. Élisabeth exhibited artistic inclinations from her childhood, making a sketch of a bearded man at the age of seven or eight; when he first saw her sketches her father was jubilant and exclaimed that "You will be a painter my child, if there ever was one", and started to give her lessons in art. In 1760, at the age of five, she had entered a convent, where she remained until 1766. She then worked as an assistant to her father's friend, the painter and poet Pierre Davesne, with whom she learned more about painting. Her father died when she was 12 years old, from infections after several surgical operations. In 1768, her mother married a wealthy but mean jeweller, Jacques-François Le Sèvre, and shortly after, the family moved to the
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1950:, being granted permission by the Prince Borromeo to lodge on the estate there. She soon attempted to visit the other isle, Isola Madre, but stormy weather affected her journey and she returned. It was during this period that she met the Countess Bistri, who would become one of her close friends. She informed the countess of her desire to travel to Vienna, and the countess replied that she and her husband were travelling there soon. Wishing to accompany the artist on her travel, the count and countess brought forward their date of departure to accomplish this. Vigée Le Brun praised the great care they took of her, and she finally left Milan for Austria. Vigée Le Brun would later describe Milan as being very similar to Paris.
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633:, the Portuguese ambassadress, who passed stories of M. Le Brun's habits as a spendthrift and womanizer. Élisabeth would later regret this match as she found these rumors to be true, though she wrote that in spite of his faults he was still an agreeable and obliging man with a sweet nature. However, she frequently condemned his gambling and adulterous habits in her memoirs, as these left her in a financially critical position at the time of her flight from France. Her relationship with him deteriorated later so much that she demanded the refund of her dowry from M. Le Brun in 1802. Vigée Le Brun began exhibiting her work at their home, and the salons she held there supplied her with many new and important contacts.
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3023:, which took place once every century. She was hosted by M. and Mme. Konig, who hosted all notable people who came to visit the festivals. Vigée Le Brun went to the château du Bailli to witness the start of the festival, which had been postponed a few days due to incessant rain, and was captivated by the festival's solemn pastoral chants and fireworks at night. The next day, she returned to see the festival taking place at half past ten in the morning; she joined the celebrations and dancing, before sitting back and watching the contests between the shepherds and shepherdesses. Vigée Le Brun recorded that she was frequently moved to tears by the enchanting atmosphere of the festival.
2207:, commented to Vigée Le Brun that the painting had scandalized the Empress due to the amount of bare skin the short sleeves revealed. Vigée Le Brun was greatly worried by this and considered it a hurtful remark and replaced the tunics with the muslin dresses the princesses wore, and added long sleeves (called Amadis in Russia). Vigée Le Brun was later reassured in a conversation with Catherine that she made no such remark, but by then the damage had already been done. When Paul later became Emperor, he expressed having been upset with the alterations Vigée Le Brun made to the painting. When Vigée Le Brun told him what Zubov told her, he shrugged and said "They played a joke on you".
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divine nature, that I was overwhelmed with pious admiration. As I knelt before the masterpiece, someone played the overture to
Iphigenia on the organ. The involuntary link that I made between the young pagan victim of that story and the young Christian victim, the memory of the peaceful, happy time when I had last listened to that piece of music, and the sad thought of all the evils pressing upon my unhappy country, weighed down my heart to the point where I began to cry bitterly and to pray to God on behalf of France. Fortunately I was alone in the church and I was able to remain there for some time, giving vent to those painful emotions which took control of my soul.
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Although I had never had this dreadful illness, no-one could stop me from running to her bedside. I found her face so swollen that I was seized with fright; but I was only frightened for her sake; as long as the malady lasted, I did not think of myself for one moment. To my joy she recovered without the least disfigurement. I needed to travel. I needed to leave Saint
Petersburg, where I had suffered so much that my health had deteriorated. However those cruel remarks that had arisen as a result of this affair were soon retracted after the marriage. The men who had offended me the most were sorry indeed at the injustice.
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2265:, who urged her to stay in Saint Petersburg. Upon telling the Emperor of her poor health and prescription by a physician to take the waters near Karlsbad to cure her internal obstruction, the Emperor replied "Do not go there, there is no need to go so far to find a remedy; I shall give you the Empress's horse, a few rides will have you cured". Vigée Le Brun was touched by this, but replied to the Emperor that she did not know how to ride, to which the Emperor said "Well, I will give you a riding instructor, he will teach you". The artist was still adamant about leaving Russia, despite her closest friends, the
2417:, he gave Vigée Le Brun an enthusiastic welcome and showed her some of his newest sketches. She met her friend from Saint Petersburg, Princess Dolgorouky, and saw her almost daily. In 1802, she demanded the refund of her dowry from her husband, whose gambling habits had dissipated a significant portion of the wealth she had accumulated in her early career as a portraitist. The artist soon felt mentally tormented in Paris, mainly due to memories of the early days of the revolution, and decided to move to a secluded house in Meudon forest. She was visited there by her neighbors, the famous dissident pair and
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1706:, then a renowned anatomist. Fontana showed Le Brun his study, filled with wax figures of human organs. The intricacy of the details on some of the replicas had made the artist feel that only divine power could have created the human body. Fontana then showed Le Brun a life-sized figure of a human female, with an exposed cutaway of the intestines. Vigée Le Brun was nearly sick at this sight, and was haunted by it for a long time, later writing to Fontana for advice on relieving herself from the stress and consequences of having seen the internal anatomy of the human body, to which he replied to her; "
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feeling, I groaned to see the extent to which this superb painting had been defaced: to begin with it had been covered with plaster, and then repainted in several parts. Nevertheless it was possible to judge what this beautiful work had been like prior to these disasters. for the effect, when viewed from a little distance, was still admirable. Since then I have learnt of a completely different cause of its poor condition. I was told that during the wars with
Bonaparte in Italy, the soldiers would amuse themselves by firing musket balls at Leonardo's Last Supper! May these Barbarians be cursed!
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2084:, at his palace. She found dinners hosted by the prince to be uncomfortable due to the late time in which he dined and the large number of people often present at his table, and subsequently decided to dine at home most days. On days when she would accept his invitations, she would dine at home before leaving, and ate very little at his table. The prince noticed this and was offended by this and her frequent refusal of his invitations, leading to a short quarrel between the two, but they were soon reconciled. The Prince continued to host the artist and exhibited her
1121:. The artist regarded her as lacking in Marie Antoinette's beauty and grace, and being as pallid as a ghost, and criticized her way of life as being "like that of a man", although she praised the warm welcome the Infanta had given her. Vigée Le Brun did not stay long in Parma, wishing to cross the mountains southwards before the seasons changed. De Flavigny postponed Vigée Le Brun's departure from Parma by two days so that she and her daughter could be escorted by one of his trusted men, the Vicomte de Lespignière, whose carriage accompanied her all the way to Rome.
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2932:. On the way upwards, M. de Brac fell ill with catalepsy, and was slowly nursed back to health in a nearby inn, where Vigée Le Brun, the pregnant Mme. de Brac and her son were distraught and worried about his condition, but he recuperated slowly over the course of a week. After eleven days in Chamonix, the artist departed alone without the de Brac family, writing that nothing would bring her to visit the "melancholic"' Chamonix again. She then left Switzerland and returned to Paris.
2237:. Vigée Le Brun attempted everything in her power to prevent this match, and viewed it as a scheme concocted by her enemies and her governess to separate her from her daughter.However, as Julie's remonstrations and pressure on her mother grew, Vigée Le Brun relented and gave her approval for the wedding, though she was greatly distressed at the prospect, and soon found her stay in Russia, hitherto so enjoyable, had become suffocating and decided to return to Paris. She wrote;
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2866:], her curiosity was excited by who would live so far and high, and she made a trek up the mountain after being assured that the conditions of the road would support her carriage. After slightly less than an hour, the road became very rugged and far too steep, prompting her to dismount and continue the journey on foot. The trek lasted about five and a half hours, though she wrote in a letter to Countess Potocka that the view made it completely worth it:
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1853:, having been given letters of introduction by her aunts, the Mesdames of France whom she had painted in Rome; requesting the artist to paint their niece on her way to France. When she presented this to the bereaved Queen, she politely refused the request, stating that she has given up all worldly matters and had taken up an austere life, which the painter had confirmed from the Queen's disheveled appearance. She also made acquaintance of
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837:, in which the Queen chose to be shown in a simple, informal cotton muslin dress, worn as an undergarment. The resulting scandal was prompted by both the informality of the attire and the Queen's decision to be shown in that way. Vigée Le Brun immediately had the portrait removed from the Salon and quickly repainted it, this time with the Queen in more formal attire. After this scandal, the prices of Vigée Le Brun's paintings soared.
3068:. As she prepared to go to bed after eleven o'clock, with no knowledge of the proximity of the allied troops, they entered her home, while she lay in her bed. They entered her bedchamber and proceeded to loot her home. Her German-speaking Swiss servant Joseph screamed at the soldiers to spare her person until his voice was hoarse. After the looting, the soldiers left her home. She left as well, initially intending to head to
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2462:. Upon closely scrutinizing the house's surroundings for any acoustic nuisance, she took up lodging there, only to be awakened at daybreak by a great screeching from a large bird owned by her neighbor. Later on, she also discovered that the former residents had buried two of their slaves in the cellar, where their bodies remained, and once again she decided to move, this time to a very damp building in
2466:. Although this was far from perfect, the artist was exhausted from constant moving, and decided to remain there, though the dampness of the house, combined with London's humid weather – greatly disliked by the artist – hindered her painting process. Vigée Le Brun found London lacking in inspiration for an artist due to its lack of public galleries at that time. She visited monuments, including
1338:, with whom she spent two evenings. Kaufmann showed Vigée Le Brun her gallery and sketches, and they engaged in long conversations. Vigée Le Brun praised her wit and intellect, although Vigée Le Brun found little inspirations in these evenings, citing Kaufmann's lack of enthusiasm and Vigée Le Brun's own dearth of knowledge. For the first three days of her stay in Rome, she visited the home of
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2511:. She also viewed some works by Joshua Reynolds. Vigée Le Brun was surprised to find that it was customary in England for visitors to the studios of artists to pay a small fee to the artist. Vigée Le Brun did not adhere to this local custom, and allowed her servant to pocket this toll. She was greatly pleased to meet one of the most famous actress and tragediennes of her era,
648:. Her husband appropriated most of her income and pressed her to also take on the role of a private tutor to increase his income from her. The artist found tutoring to be frustrating due to her inability to assert authority over her pupils, most of whom were older than her, and found the distraction from her work irritating; she renounced tutoring soon after she had begun.
1536:, and was captivated by her beauty and long chestnut hair. Sir William also commissioned a portrait of himself, which she completed later. The artist noticed that Sir William had a mercantile inclination towards art, frequently selling paintings and portraits he commissioned for profit. On her future visit to England, she found that he had sold her portrait of him for 300
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o'clock there was a trumpet blast so loud that it could have served for the day of judgement. The noise of the trumpet, together with that of the horses whose stables lay directly beneath my window, prevented me from catching any sleep at all. In the daytime there was a constant din made by the neighbor's children...". Vigée Le Brun then moved to a beautiful house in
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2647:, as he would receive foreigners only if he knew their name. When he became aware that Vigée Le Brun was visiting, he went to her in person and gave her a decorous reception. After introducing the artist to his wife, he took her on a tour around the castle, looking over the lavish art collection there. He presented her with two drawings which she had sketched in
2073:. She found him in the middle of undertaking several paintings, and found him to be quite active despite being about sixty and "having the habit of wearing two or three spectacles, atop one another", and commented on his 'unusual and sharp mind' and his rich imagination when retelling stories or recounting past events during the dinners they had spent with the
3180:, the ruins of the ancient Roman Gallien Arena. After spending a week in Bordeaux, she started back for Paris, greatly satisfied with her travels. During her journey, it was common for her to be mistaken for a noble lady owing to her expensive carriage; she later lamented in her memoirs that this often meant she had to pay more in the inns where she resided.
1599:. This voyage included his mistress Emma Hart and her mother. Vigée Le Brun was instantly mesmerized by the island and its inhabitants, writing of its women "I was instantly struck by the beauty of the women we encountered on the road. They were nearly all tall and statuesque, their costume as well as their build reminding me of the ancient women of Greece".
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1734:. At first their surprise held them silent: I considered this far more flattering than the most fulsome praise: several then said that they had thought the painting the work of one of the masters of their school: one actually threw himself at my feet, his eyes full of tears. I was even more moved, even more delighted with their admiration since the
3004:; at the time a chapel had been constructed on the location. There, the artist observed a shepherd and shepherdess singing to each other across the valley, a local courting custom, although the two stopped singing when they noticed her. The "communication of love through melody" presented her with a delightful scene, which she would describe as an
1532:, the English envoy extraordinary to the Kingdom of Naples, visited Vigée Le Brun while the Countess was sitting for her, requesting that the artist paint his mistress, Emma Hart, as her first portrait in the city, it being unknown to him that she had already promised Count Scavronsky that she would paint his wife. She later painted Emma Hart as a
2327:, hoping to procure a passport to return to France. The general encouraged Vigée Le Brun to return and assured her that order and safety had been restored. Her brother and husband had already struck her name from the list of émigrés with ease, and had her French status restored. Shortly before her departure from Berlin, the General Director of
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that it was common for crowds of curious people to observe disembarking travelers in
England. She had been told that highwaymen were common in England, and so hid her diamonds in her stocking. During her ride to London she was greatly frightened by two riders who approached the stagecoach whom she thought were bandits, but nothing came of it.
1257:, and later a gallery containing numerous self-portraits by famous artists, where she was asked to present her own self-portrait to the collection, promised to do so as soon as she reached Rome. During her stay in Florence, Vigée Le Brun made the acquaintance of another French lady, the Marquise de Venturi, who took her on excursions along
1436:, with whom she became close friends. She also found herself in the social circles of exiled French aristocracy who came to Rome, embedding herself there like most exiled French had done, instead of congregating with Italian aristocracy. She spent many evenings hosted by de Ménageot or the Prince Camille de Rohan, ambassador to
3052:, and invited her niece (daughter of her brother Etienne) Caroline Rivière and her husband to live with her. She doted on the newlywed couple and formed a close bond with them, and occasionally visited Paris. She had Mme. Pourat and the talented actress Comtesse de Hocquart as neighbors. She visited Madame du Barry's home, the
2787:, which she found dark and grim due to its being hidden from sunlight on both sides by steep mountains. On her descent, she and her company encountered a group of local shepherdesses; the beauty and naivete of the local people and the wilderness where the encounter took place made her liken the experience to something out of
3076:, near Du Barry's pavilion, with many other people, having entrusted her house to Joseph. As fighting nearby intensified, Vigée Le Brun attempted to take refuge in cave, but gave up after injuring her leg. There, she observed how most of the merchants taking refuge were, like her, pining for the restoration of the Bourbons.
2887:. After descending the mountain, the artist hired the innkeeper where she was lodged to row her out on the lake at night. She was enthralled by the charming beauty and silence of the lake, and wrote of the journey later "He was not Saint Preux and I was not Julie, but I was no less happy". Vigée Le Brun then departed for
1513:, the rolling hills of the countryside, and its citizens, writing "...even the people, so lively, so boisterous, so different from the people of Rome, that one would think a thousand leagues lay between the two cities". Her first residency in Naples lasted for six months, although originally planned to be six weeks.
3116:, initially in the Tuileries, but then finishing their sittings in her home. In the same year, her daughter Julie died of syphilis, which devastated her. The next year, her brother Etienne died an alcoholic, leaving her niece Caroline her principal heir. Her friends advised the grief-stricken artist to travel to
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to tell the truth, the view completely eliminated my fatigue. Five or six vast forests, piled one upon the other, fell away beneath my eyes; the canton of
Soleure seemed no more than a plain, the town and the villages, tiny specks; the fine line of glaciers which fringed the horizon became redder and
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resumed. The
British Government ordered all French people who had not resided more than a year in the UK to depart immediately. The Prince of Wales reassured Vigée Le Brun that this would not affect her, and she might reside in England however long she pleased. This permit from the King was difficult
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Vigée Le Brun arrived at Dover, where she took the stagecoach to London, accompanied by the woman who would become her lifetime friend and chambermaid, Mme. Adélaïde, who later married M. Contat, Vigée Le Brun's accountant. Vigée Le Brun was confused by the large crowd at the quays, but was reassured
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invited Vigée Le Brun to
Potsdam to meet her; the Queen then commissioned a portrait of herself. The Queen invited the artist to reside in the Potsdam palace until she finished her portrait, but Vigée Le Brun, not wishing to intrude on the Queen's ladies-in-waiting, chose to reside in a nearby hotel,
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then to
Spoleto. In this town, she witnessed Raphael's partially completed Adoration of the Magi, from which she gained valuable information on his painting techniques, observing that he painted hands and faces first, and experimented frequently with different tints during the early drafting process.
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She returned to Rome afterwards, just in time to find the Queen of Naples arriving from her visit to Austria. The Queen espied the artist in a large crowd, went to her and impressed her to return to Naples to paint her portrait; Le Brun agreed to the prospect. Upon her return to Naples, she was taken
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spies who tracked her movement. Her husband, who remained in Paris, claimed that Vigée Le Brun went to Italy "to instruct and improve herself", but she feared for her own safety. In her 12-year absence from France, she lived and worked in Italy (1789–1792), Austria (1792–1795), Russia (1795–1801) and
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entered her house and ordered her not to leave or else face punishment. Two sympathetic national guards from her neighborhood later returned to her house, and advised her to leave the city as fast as possible, but to take the stagecoach instead of her carriage. Vigée Le Brun then ordered three places
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graced this painting with two separate poems; one for the saint, the other for the painter. She spent her time with her nieces Caroline Rivière and Eugénie Tripier-Le Franc, whom she came to regard as her own children. She had tutored the latter in painting since childhood and was greatly pleased to
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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. The artist received a rapturous welcome in her home at Rue de-Gros-Chenet and was greatly
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We also went up to the mountain refuge. The sun set and we watched its rays disappear behind the islands of Ischia and Procida: what a view! Eventually night fell, and the smoke turned into flames, the most magnificent I have ever seen in my life. Great jets of fire shot up from the craters in quick
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and the young son of Baron de Talleyrand. The voyage to the island was turbulent due to rough waters. Soon afterwards, she made multiple trips to the summit of Vesuvius. Her entourage included Mme. Silva and Abbé Bertrand on the first journey, which was hampered by severe rain. On the next day, with
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Vigée Le Brun was very sensitive to sound while sleeping; this was a lifetime burden for her, and when traveling to new locations or cities, frequent moving of lodgings was customary until she found a suitably quiet residence. Due to the racket of coachmen and horses near her apartment in the French
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on the very same day, where she was underwhelmed by its size; not matching the lavish descriptions she had heard of it, although its vastness became apparent to her upon walking around the structure. She stated to de Ménageot that she would have preferred for it to be supported by columns instead of
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During the two weeks after the wedding had taken place in secret, the artist was visited by a stream of people giving her ominous news regarding her husband, these people believing that she had still not agreed to his proposal. These visitors started with the court jeweller, followed by the Duchesse
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She departed for Paris as soon as she received the news, and communicated by letter with Joseph about the condition of her Louveciennes home, which had been ransacked and its garden destroyed by the Prussian troops. Her servant wrote to her: "I beg them to be less greedy, to content themselves with
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Halfway through her journey to Milan, she was detained for two days due to her nationality. She sent a letter to Count Wilsheck, the Austrian embassador in the town, who secured her release. The count convinced Vigée Le Brun to travel to Vienna, and she decided to go there after her visit to Milan.
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Vigée Le Brun was exultant at the entry of the Comte d'Artois to Paris on 12 April, shortly after Napoleon had agreed to abdicate. She wrote to him about the King, to which he replied: "His legs are still bad, but his mind is in excellent form. We will march for him, and he will think for us". She
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She arrived in Paris and rejoiced to find her brother and her husband there, who was charged with recruiting artists for Saint Petersburg. He departed a few months later for Saint Petersburg, but Julie remained due to their failing union, though her relationship with her daughter continued to be a
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before returning to London, and preparing to depart for France after staying in England for nearly three years. Upon her imminent departure becoming known, many of her acquaintances attempted to extend her residence with them, but to no avail as Vigée Le Brun wanted to see her daughter, who was in
2257:, and her journey was further delayed when most horses were taken by couriers spreading the news of the death of Paul and the coronation of Alexander. Vigée Le Brun enjoyed her stay in Moscow, and painted many portraits during her stay. Upon her return to Saint Petersburg she met the newly crowned
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Suffice to say I came to the conclusion that Raphael is the greatest master of them all. I had just visited several rooms within the gallery when I found myself standing in front of a painting which aroused in me an admiration far more intense than that normally inspired by the art of painting. It
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She arrived in Venice on the eve of Ascension day. She was surprised by the city's partially submerged aspect, and it was some time before she became accustomed to the modes of transportation in the city's canals. She was received by M. Denon, a fellow artist whom she knew from Paris, who acted as
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Upon finishing her portrait of the Queen, she was offered her summerhouse near the coast to entice her to spend more time in Naples, but Le Brun insisted on leaving. Before departing, the Queen gave her a luxurious lacquered box containing her monogram surrounded by fine gems. She returned to Rome
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I went immediately to the church of Sant'Agnese, where this saint's martyrdom is represented in a painting by Domenichino. The youth and innocence of Saint Agnes is so well captured on her beautiful face and the features of the torturer striking her with his sword form such a cruel contrast to her
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being read, and was kept secret for some time at the request of her husband, who was officially engaged to another woman at the time in an attempt to secure a lucrative art deal with a Dutch art dealer. Élisabeth acceded to his request as she was reluctant to give up her now famous maiden name. In
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Without wishing to insult the memory of a great captain and many brave generals and soldiers who helped win such resounding victories, I would like nevertheless to ask where these victories led us, and whether we still own any of the land which cost us so dear? For my part, the bulletins from the
2383:, containing a decree reinstating her as a member of the theater. The leading members of the theater also wished to enact a comedy at her house to celebrate her return, which she politely refused. Soon afterwards, the artist was taken to witness the first consul's routine military ceremony at the
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visited her, bringing her the diploma for her admission to that academy. After her departure from Berlin, she visited Dresden and painted several copies of Emperor Alexander, which she had promised earlier, and also visited Brunswick where she resided for six days with the Rivière family, and was
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The pair soon became friends. During a conversation, Vigée Le Brun complemented the Queen on her bracelets with an antique design, which the Queen then took off and put around Vigée Le Brun's arms. Vigée Le Brun considered this gift one of her most valued possessions for the rest of her life, and
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in his gallery, and she praised the kindness and sweetness he had extended her during her stay. When the Prince died shortly after, Vigée Le Brun was upset by the indifference the city's residents and aristocracy showed, and was further shocked when she visited the wax museum and found the Prince
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As well as the Countess Bistri and her husband she travelled to Vienna with two other French refugees of poorer origin whom they had taken on. The artist found their company priceless and lodged herself with them in Vienna, with some difficulty in procuring residence due to the travelling party's
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to no avail, and he along with Etienne, Vigée Le Brun's brother, were both briefly incarcerated in 1793, shortly before the terror began. Soon after, M. Le Brun attempted to protect himself and their properties from confiscation and began suing for divorce from his wife. The decree of divorce was
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I also climbed the steps to the Sistine chapel, to admire the dome with a fresco by Michelangelo as well as his painting of The Last Supper. Despite all the criticisms of this painting, I thought it a masterpiece of the first order for the expression and the boldness of the foreshortened figures.
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Society seemed to be in a state of complete chaos, and honest people were left to fend for themselves, for the National Guard was made up of a strange crew, a mixture of bizarre and even frightening types. Everyone seemed to be suffering from fear; I grieved for the pregnant women who passed; the
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During the Napoleonic regime, this portrait was taken down by order of Napoleon, who had become concerned about the number of people who visited the gallery to see it. Instead of removing it from the gallery, the guards placed it in a dark corner, and visitors paid a small sum of money to see it.
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It would be impossible to describe all the vexations and torment I had to suffer while painting this portrait. First of all Mme Murat arrived with two ladies in waiting who proceeded to dress her hair as I tried to paint her. When I observed that it would be impossible to capture a likeness if I
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I visited the refectory of the monastery known as Santa Maria delle Grazie with its famous Last Supper fresco by Leonardo da Vinci. It is one of the great masterpieces of the Italian school: yet in admiring this nobly portrayed Christ and all the other characters painted with such truth and such
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The party departed from Procida on the same way, bound for Ischia. They arrived there in the late evening. On the next day, they were taken by General Baron de Salis with a party of twenty to visit the summit of Monte San Nicola. The journey was perilous, and Vigée Le Brun was separated from the
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before he became Cardinal, who informed her that the pope wished her to paint his portrait. She was greatly flattered by the offer, but politely declined; fearing that she would fumble the portrait as she would be forced to wear a veil while painting the pope. Soon afterwards she was taken by de
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to improve her art. At an early age, she reversed the order of her given Christian names, and was known among her inner circle as 'Louise'. For most of her life, she signed her paintings, documents and letters as "Louise Élisabeth Vigée Le Brun", although she acknowledged later in life that the
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As for myself, all the charm of my life seemed to have disappeared forever. I could not find the same pleasure in loving my daughter, and yet God knows how much I still love her, despite her faults. Only mothers will understand me when I say this. Shortly after her marriage she caught smallpox.
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Wishing to find a more permanent lodging, a compatriot named Charmilly directed her to a house in Beck street, which overlooked the Royal Guards barracks. Vigée Le Brun terminated her residence there because of the noise from the barracks; in her words, "...every morning between three and four
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Catherine herself also agreed to sit for Vigée Le Brun, but she died the very next day, which was when she had promised to sit for the artist. While in Russia, Vigée Le Brun was made a member of the Academy of Fine Arts of Saint Petersburg. Much to her dismay, her daughter Julie married Gaétan
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commented on the portrait "Madame Le Brun had cut off his legs so he could not escape". More rumors and scandals followed soon after as, to the painter's dismay, M. Le Brun began building a mansion on the Rue de-Gros-Chenet, with the public claiming that de Calonne was financing the new home -
494:, Vigée Le Brun directly stated her feelings about her stepfather: "I hated this man; even more so since he made use of my father's personal possessions. He wore his clothes, just as they were, without altering them to fit his figure." During this period, Élisabeth benefited from the advice of
2730:." Vigée Le Brun accepted the commission despite the fact that she was paid 1800 Francs, less than half the customary asking price, and later also included Mme. Murat's daughter in the portrait without raising the fee. She later described this commission as "torture", and wrote in her memoirs:
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The following day I went to the Vatican Meusum. There is really nothing to compare with the classical masterpieces either in shape, style or execution. The Greeks, in particular, created a complete and perfect unison between truth and beauty. Looking at their work, there is no doubt that they
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by a large crowd of Parisians – mostly women. Vigée Le Brun's stagecoach departed at midnight of the same day, with her brother and husband accompanying them to the Barrière du Trône. She, her daughter and governess dressed shabbily to avoid attracting attention. Vigée Le Brun travelled to
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to observe the ceilings and alcoves painting by Correggio, and then the church of San Antonio. She also visited the library of Parma where she found ancient artifacts and sculptures. The Comte de Flavigny then introduced Vigée Le Brun to Marie Antoinette's older sister, the bereaved
1152:, perusing arts and paintings by many old masters. Within three days of her arrival in Bologna, on 3 November 1789, she was received as a member of the academy and the institute of Bologna, with the academy director M. Bequetti personally delivering the letters of admission to her.
2581:, where she greatly enjoyed the picturesque architecture of the city, its rolling hills and the countryside; but much like London, she found its society and weather dreary. She found some of her Russian friends from Saint Petersburg there, and went to visit the astronomer siblings
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Coincidentally, she found Madame de Staël at the festival, and joined her in the procession that followed the Bailli and his magistrates, which was joined by people from the neighboring valleys, dressed in their local costume and carrying flags representing each canton or valley.
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due to her association with Marie Antoinette. Stricken with an intense anxiety, Vigée Le Brun's health deteriorated. M. and Mme. Brongniart pleaded with her to live with them to convalesce and recover her health, to which she agreed and spent several days in their apartment at
819:, 1783. The criticism for the dress in this portrait had been so intense that Vigée Le Brun had the portrait removed only a few days after it was displayed in the Salon of 1783, and quickly made a copy of it with the Queen wearing a blue silk dress, which was displayed instead.
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Before departing for France, Vigée Le Brun decided to visit Moscow. Halfway through her journey to the city, news of the assassination of Paul I reached her. The journey was extremely difficult due to the melting snow, and the carriage often got stuck in the infamous
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Her Louveciennes home was once again looted in the Hundred Days, this time by British troops. Among the possessions lost during this incident was a lacquer box gifted to her by the Count Stroganoff during her stay at Saint Petersburg, which she had prized immensely.
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caused an incident in which she and the Duchess fled for their lives from what they suspected was a rogue following them, of which she wrote "I have never discovered whether the man who caused our exhaustion was a real villain or the most innocent man in the world".
1884:. She soon decided to leave for Milan, but not before repaying the kindness Porporati had extended to her by painting his daughter's portrait, with which he was greatly pleased and made several engravings of the painting, sending several of them to Le Brun.
875:(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 Marie Antoinette had recently received. The portrait shows the Queen at home in the
1868:. She soon met the engraver Porporati again, who recommended her to lodge in a quiet inn in the countryside, she travelled there and was greatly pleased by the quietude and charming views it offered. not long afterwards Vigée Le Brun received news of the
2129:, with its commanding view of the countryside, to which she agreed. During Vigée Le Brun's stay in Kahlenberg, de Ligne wrote a passionate poem about her. After two and half years in Vienna, the artist departed for Saint Petersburg on 19 April 1795, via
1253:, where she saw the self-portrait of Raphael, praising his countenance and expression as that of a "man who was obviously a keen observer of life", but also stated that the painting's protective glass had made its shadows darker. She then visited the
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composition. This would be the beginning of two and a half years of her residency in Austria. Upon lodging herself there, she finished her painting of the countess Bistri, praising her as a "truly beautiful woman", then she presented herself to the
2141:, who was very hospitable to the artist. While visiting Dresden on her way to Russia, Vigée Le Brun visited the famous Dresden gallery, writing that it was without doubt the most extensive one in all of Europe. It was there that she saw Raphael's
2395:. The artist found it difficult to recognize the short figure as the man she had heard so much about; as with Catherine the Great, she had imagined a tall figure. A few days later, Bonaparte's brothers visited her gallery to view her works, with
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The artist received a warm welcome in Milan, with many young men and women from noble families serenading her outside her window, which persuaded the artist to extend her stay in Milan by a few days. It was during this time that she visited the
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faces of most of them were sallow with worry. I noticed besides that the generation born during the Revolution was, in general, a lot less healthy than the previous one; indeed most of the children born in this sad time were weak and suffering!
575:, which unwittingly exhibited her works in its Salon. In 1774, she was made a member of the Académie. Her studio's reputation saw a meteoric rise, and her renown spread outside France. By 1774, she had painted portraits which included those of
2848:] where she continued to be mesmerized by the beauty of the countryside and the "native innocence" of the locals. After a hazardous boat ride destined for Walenstadt, the entourage turned back to Rappercheld and then visited the valley of
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and a few minutes later I went to receive them. Having spoken of their desire to meet me, they continued by saying that they would very much like to see one of my paintings. 'Here is one I have recently completed,' I replied, pointing to the
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As the situation in Paris and France continued to deteriorate with the rising tide of the revolution, the artist decided to leave Paris, and obtained passports for herself, her daughter and their governess. The very next day a large band of
2767:, which she found, to her great surprise and dismay, had become a tavern. Vigée Le Brun praised the picturesque countryside repeatedly in her letters to Countess Vincent Potocka. After departing the island to return to Biel, she went on to
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regretfully I had to abandon the idea of living there. No-one, I am sure, could have changed lodgings as often as I did during my various visits to the capital; I remain convinced that the most difficult thing to find in Rome is a place to
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Soon after her arrival in Rome, she dispatched the promised self-portrait to Florence. In this portrait, she depicted herself in the act of painting, with the Queen's face on her canvas. She made numerous copies of this portrait later on.
1872:. Beset with despair, she set back for Turin, where she found the town filled with French refugees as turmoil intensified during the French revolution, setting a cruel spectacle for the artist. She subsequently rented a small home on the
1524:, the same night in their mansion, where she found amiable company with the couple, who invited her again on many evenings. The Count made Vigée Le Brun promise to paint his wife before anyone else in Naples, and she set to painting her
2069:, of whom Vigée Le Brun was completely enraptured with her beauty. Vigée Le Brun proceeded to tour the city's galleries as was her custom when visiting new cities. She first paid a visit to the gallery of the famous painter of battles,
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1520:, in the Hotel de Maroc. Her neighbor, the ailing Count Scavronsky, Russian Minister Plenipotentiary to Naples, sent a missive to inquire of her shortly after her arrival, and sent her a lavish dinner. She visited him and his wife,
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summerhouse during her stay in Italy, telling her that he had paid a high price to buy them from his nephew. Vigée Le Brun later wrote that she had never sold them to Sir William to begin with. He also presented to her the famous
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902:. It was displayed in the chapel of the Infirmerie Marie-Thérèse, rue Denfert-Rochereau, but vanished at some point in the 20th century. She also painted numerous other posthumous portraits of the Queen, and of King Louis XVI.
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attended the euphoric reception of the King in Paris on 3 May 1814, and the restoration of the monarchy. The King personally gave her his regards while on his way to attend the Sunday services when he spotted her in a crowd.
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Paris at the time. As she prepared to leave London, Mme. Grassini arrived and then accompanied her, staying with her until her ship departed for Rotterdam, ending a trip that was originally intended to last only five months.
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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, shows her teeth." In light of this and her other
2025:(1795); she also sent it to be shown at the Salon of 1798. It was perhaps her most successful painting, and had always garnered the most praise and attracted many viewers wherever it was displayed. Like her reception piece,
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possessed exceptional models, or that the men and women of Greece discovered an ideal of beauty long, long ago. As yet I have made only a superficial study of the museum's contents, but the Apollo, The Dying Gladiator , The
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on the stagecoach out of Paris, but had to wait two weeks to obtain seats as there were many people departing the city. Vigée Le Brun visited her mother before leaving. On 5 October 1789, the King and Queen were driven from
738:, who was one of her most devoted patrons. Their correspondence published later strongly affirmed the status of this affair. These rumors spiraled into an extensive defamation campaign targeting the painter throughout 1785.
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1167:. The artist was initially disappointed with its position at the bottom of a wide valley, having preference for elevated views, but was soon charmed by the city's beauty. She lodged herself in a hotel recommended to her.
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among many others, the latter portrait causing a minor scandal among the Princess's relatives. The portraits depict the Liechtenstein sisters-in-law in unornamented Roman-inspired garments that show the influence of
2693:, who was hospitable to her. After residing in Rotterdam for ten days, she received her passport and started for Paris. She visited Antwerp on her way to Paris and was received by its prefect, the Comte d'Hédouville
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After a few days in Parma, during which she revisited numerous churches and local landmarks & galleries, she finally departed Parma in July 1792, visiting Mantua on her way to Venice. In Mantua she visited the
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2569:, who composed a song for her which was sung by Mrs. Chinnery's daughter. She painted Mrs. Chinnery and her children whilst there, departing for Windsor after staying at Gilwell for a fortnight. She also visited
1655:, occasional diplomat and painter and the brother of Le Brun's sister-in-law. He would be the artist's travelling companion for 9 years, often copying her portraits. Le Brun spent the first night on the road at
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571:, she often draped her subjects in shawls and long scarves; these styles would later become ubiquitous in her portraiture. After her studio was seized for her practicing without a license, she applied to the
781:, and solicited their approval to take their portraits. The ambassador responded by saying he would only agree if the request came from the King, which Vigée Le Brun procured, and she proceeded to paint the
3156:, where the impure air forced her to quit the city after only two days. In Tours, she was received by the director of the academy, who offered to be her guide in the city. She also visited the ruins of the
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Upon Napoleon's return from Elba, she noted the contrast between the rapturous reception the Bourbons had received the previous year and Napoleon's tepid welcome upon his return to France from his exile in
1708:
That which you describe as a weakness and a misfortune, is in fact the source of your strength and talent; moreover, if you wish to diminish the inconvenience caused by this sensitivity, then stop painting
827:. She painted more than 30 portraits of the Queen and her family, leading to the common perception that she was the official portraitist of Marie Antoinette. At the Salon of 1783, Vigée Le Brun exhibited
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879:, 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
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was characterized by a high sensitivity to sound, sight and smell. Between 1835 and 1837, when Vigée Le Brun was in her eighties, with the help of her nieces Caroline Rivière and Eugénie Tripier Le Franc
2715:. She painted her and kept her portrait along with that of Mme. Grassini for the rest of her life, and continued to host soirées in her home as she had always had, to which Mme. Catalani was a regular.
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During her stay in Venice she lost yet another fortune, amounting to 35,000 francs, most of which she had accumulated from her commissions in Italy - which she had deposited in the bank of Venice, when
3233:, and the famous painter Antoine-Jean Gros. She hosted these people and socialized with them regularly in her countryside home or in Paris, as well as her old friend the Princess Kourakin. She painted
1090:(then minister plenipotentiary of Louis XVI) who generously accommodated her during her stay there. While staying in Parma, she sought out churches and galleries that possessed works of the old master
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and his sister Charlotte Adelaide Constantia Rawdon, where Vigée Le Brun further experienced the stern social milieu of English aristocracy; she spent some of the winter there. She then departed for
3465:
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In 1819 she sold her portrait of Lady Hamilton as the Comaean Sibyl to the Duc de Berri, despite it being her favorite, because she wished to satisfy the Duke. She also painted two portraits of the
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where she stayed for three days with acquaintances (Mme. and M. de Artaut), where she was barely recognized due to her changed features and shabby clothes, and then continued her journey across the
2486:. She also visited St. Paul's Cathedral, the Tower of London and the London Museum. She greatly disliked the austere social customs of the English, particularly how quiet and empty the city was on
2988:. The artist visited the valley, once populated with several villages, now buried under rocks. Heavy with sorrow, she contemplated the remains of the villages for a long time before departing for
2519:
published a speech that viciously criticized her, her art and French artists in general, to which she made a scathing reply by letter which she published later in her life as part of her memoirs.
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whatever I give them, they reply: "The French have done far worse things in our country". Vigée Le Brun wrote in her memoirs "The Prussians are right; poor Joseph and I had to answer for that."
2454:, whom she had known from Paris. He always paced while reading or reciting his poetry. He promised her to take care not to interrupt her sleep, and she was able to rest well for the next night.
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Singer-songwriter Kelly Chase released the song "Portrait of a Queen" in 2021 to accompany the History Detective Podcast, Season 2, Episode 3 Marie Antionette's Portrait Artist: Vigée Le Brun.
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Her estranged husband died in August 1813, in their old home built on the Rue de-Gros-Chenet. Though they had drifted apart for several years, she was nonetheless sorely affected by his death.
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and others attempting all they could to make her stay in Saint Petersburg, she left after residing there for six years. Julie predeceased her mother in 1819, by which time they had reconciled.
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Later versions showing Vigée Le Brun painting her daughter instead of the Queen since she was decreasing the appearance of her royal sympathies in order to be struck from the list of émigrés.
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see her blossom into a professional artist. Eugénie and Caroline would assist her in writing her memoirs, late in her life. She died in Paris on 30 March 1842, aged 86. She was buried at the
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where she remained for a few days, excursing frequently in its countryside and visiting local churches and galleries. From Siena she left for Parma, where she was welcomed as a member of the
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She spent most of her time in Louveciennes, typically eight months of the year. She formed new friendships with people including the writer and man of letters M. de Briffaut, the playwright
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She visited the French ambassador to Naples, the Baron de Talleyrand, and while being hosted by him she met Mme. Silva, a Portuguese woman. Vigée Le Brun then decided to visit the island of
898:, she painted a posthumous portrait of the Queen ascending to heaven with two angels, alluding to the two children she had lost, and Louis XVI seated on two clouds. This painting was titled
1128:, where she visited the local Palazzo, and saw several old master paintings by Raphael, Romano and Titian. She also visited the library and the theater there. From Modena, she departed for
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although her husband did not finish constructing the house until 1801, shortly before her return to France after her long exile. She was also rumored to have had another affair, with the
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on the advice of Ethinger, but the roads there were so hazardous that part of the journey had to be made on foot. After recuperating in Biel for a single day, she proceeded to the tiny
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to enjoy the view it offered of the Apennines, and visited the Villa Mellini there. In the summer months, she and the Duchesse de Fleury rented an apartment in the home of the painter
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with M. de Rivière, who had arrived recently and narrowly escaped revolutionary violence as it swept the countryside, in solitude. Soon after she was frequently visited there by the
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3729:
2490:, when all shops were closed and no social gatherings took place; the only pastime was the city's long walks. The artist also did not enjoy the local soiree equivalent – known as
1721:, and donated a portrait of her daughter. During her stay there, she was visited by a small group of art students from the academy who wished to acquaint themselves with her work;
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style. Her subject matter and color palette can be classified as Rococo, but her style is aligned with the emergence of Neoclassicism. Vigée Le Brun created a name for herself in
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After returning from Coppet to Geneva, where she was made an honorary member of the Société pour l'Avancement des Beaux-Arts, she departed in a group with the de Brac family for
933:, was admitted on the same day. 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
3910:
2403:. During her stay, Vigée Le Brun was surprised and dismayed by the greatly changed social customs of Parisian society upon her return there. She soon visited the famous painter
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It was in Russia that Vigée Le Brun formed several of her longest lasting and most intimate friendships, with the Princesses Dolgoruky and Kourakin, and the Count Stroganoff.
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enormous pillars, to which he replied that it was originally planned as such but it was found not feasible, later showing her some of the original plans for the Basilica.
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party due to dense fog, but soon afterwards found her way to the refuge at the summit of the mountain. After returning to Naples, the artist visited the ancient ruins of
725:. Rumors circulated that the minister had paid the artist a very large sum of money, while other rumors circulated that she had had an affair with de Calonne. The famous
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2065:, armed with letters of introduction given to her by Count Wilsheck. The artist found a large number of elegant ladies in the countess' salon, and while there, met the
1651:. She left Rome on 14 April 1792 for Venice, writing later that she wept bitterly as she left Rome, having grown very attached to that city. She was accompanied by M.
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There is a sublime quality in both the composition and in the execution. As for the general air of chaos, I believe it to be totally justified by the subject matter.
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1783:, whom she found to have been pining to return to France to see her children; this was to be her last meeting with the princess, who had been later executed during
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clear weather, she climbed the volcano again, with M. de la Chesnaye joining. The party observed the erupting volcano, with plumes of smoke and ash rising from it.
3172:. She toured the countryside and visited the cemetery, which she praised for its sepulchral beauty and symmetrical layout. It became her second-favorite after the
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and painted his portrait while he was in the process of composition. She frequented Mt. Posillipo during her stay in Naples, including the ancient ruins there and
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Sheriff, Mary D. (2003). "The Cradle is Empty: Elisabeth Vigée-Lebrun, Marie-Antoinette, and the Problem of Invention". In Hyde, Melissa; Milam, Jennifer (eds.).
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1497:. She informed Cardinal Bernis, who approved of her decision to go, but told her to not travel alone; to that end, he referred her to M. Duvivier, the husband of
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She was greatly affected by his suicide in 1835; she had met him the day before and noted him brooding over criticism he had received over one of his paintings.
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1659:, then continued her journey through precipitous and craggy roads, describing the landscape there as gloomy and 'the saddest in the world'. She then arrived in
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or portraiture. Vigée Le Brun's membership in the Académie was dissolved after the French Revolution because the category of female academicians was abolished.
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Vigée Le Brun created 660 portraits and 200 landscapes. In addition to many works in private collections, her paintings are owned by major museums, such as the
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In Russia, where she stayed from 1795 until 1801, she was well-received by the nobility and painted numerous aristocrats, including the former King of Poland,
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and other old masters left a great impression on her. She also visited numerous private galleries, including those of Rendon de Boisset, the Duc de Praslin
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in July 1788, the artist experienced the massive hailstorm that swept the country, and observed the resultant devastation of crops. As the turmoil of the
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1619:. Shortly before the new year, she moved to another home due to problems with her previous residence. It was there that she also met the famous composer
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949:), instead of a portrait, even though she was not asked for a reception piece. As a consequence, the Académie did not place her work within a standard
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style; she wrote that it "surpassed anything of its kind in England". She toured the city and sampled its architecture and landmarks, including the
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While in Spoleto she also visited the Temple of Concord in the mountains, and the ruins of the ancient town there. She continued to Venice, passing
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star pupil and met his untimely death. In her memoirs she praised his skill, writing of him as having exhibited the potential to become the French
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among others. Vigée Le Brun sought out other compatriots during her stay in England, and cultivated a social circle of émigrés that included the
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Vigée Le Brun continued to hold soirées and receptions in her house, which although damp, was beautiful. She received many people, including the
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during Easter Day in Saint Peter's, while in Rome. Vigée Le Brun found his features stunning, describing them as "not showing any signs of age".
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Academy and the nightly music of the Calabrians to a nearby Madonna, she searched for other lodgings, which she found in the home of the painter
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Baillio, Joseph (May 1981). "Le dossier d'une oeuvre d'actualité politique: Marie-Antoinette et ses enfants par Mme Vigée Le Brun (2e partie)".
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directed by Arnaud Xainte, and starring Marlène Goulard and Julie Ravix as the young and old Elisabeth respectively, is available in English as
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2689:). The artist was ordered to reside for eight to ten days in Rotterdam, as she has arrived from hostile soil, and was ordered to appear before
2624:, where Vigée Le Brun was mesmerized by the beauty of the countryside and the amiability of its inhabitants, writing later that along with the
1461:, seeking out the Temple of Jupiter built there. She visited numerous villas, including the Villa Conti, the Villa Palavicina and the ruins of
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2450:. She could not sleep during her first night due to noise from her upstairs neighbor, who she found next morning was none other than the poet
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I was told that there were seven or eight art students downstairs who wished to see me. They were ushered into the room where I had placed my
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1334:, where she saw the cross placed on one of its high points by Robert. While in Rome, she was very keen to seek out the famous female painter
1318:, the magnificent altars, the splendid candelabras, indeed all the beautiful things that I saw have left a permanent impression on my memory.
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1540:. She also met Lord Bristol again and painted a second portrait of him. While in Naples, she also painted portraits of the Queen of Naples,
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He was related to her by his sister's marriage to Etienne. Not to be mistaken with the marquis de Rivière, another friend of Vigée Le Brun.
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offering a cup of water to the eagle. A real eagle was used during the painting process, although it greatly frightened her and Miss Anne.
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1864:, future king Louis XVIII (future queen of France in-exile). She excursed frequently to the countryside with her and her lady in waiting,
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and open-mouthed, which was in direct contravention of traditional painting conventions going back to antiquity. The court gossip-sheet
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2612:, with whom Vigée Le Brun became well acquainted; they enjoyed painting the countryside together. She was subsequently received by the
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by Sir William to the widely popular local festival of Madonna di Piedigrotta, the festival of Madonna dell'Arco. She also visited the
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1778, she and her husband contracted to purchase the Hôtel de Lubert. In this same year she became the official painter to the Queen.
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1591:, former director of the French Academy of painting in Rome. Soon afterwards, she was invited by Sir William to visit the Islands of
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Vigée Le Brun was pleased to see it again there after her return from exile, and later still to see it displayed normally after the
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lying in state, his hair and clothes dressed exactly as they had always been. This sight had made a sorrowful impression on her.
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4140:. Along with the other Uffizi portrait, are the only surviving self-portraits by the artist showing her in the act of painting.
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3363:(premiered in 2007), a fictionalized historical drama about a love triangle set against the backdrop of the French Revolution.
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on her way to Bordeaux. After arriving in Bordeaux, she stayed in the Fumel Hospice and was received there by the prefect, the
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She then visited several Palazzi, where she viewed some of the finest examples of the Bologna art school. She also visited the
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By the time she was in her early teens, Élisabeth was painting portraits professionally. She greatly disliked the contemporary
3056:, which she found had been looted and stripped clean of its furniture and contents. On 31 March 1814, her house was raided by
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and toured the countryside and mountains around Vevey. She walked up Mount Blonay where the Messieurs de Blonay hosted her at
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1560:. She later recalled that Luisa "was extremely ugly, and pulled such faces that I was most reluctant to finish her portrait."
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The portrait was exhibited in the Salon of 1807, and was the only portrait the imperial government commissioned from her.
349:), some of which are in epistolary format. They also contain many pen portraits as well as advice for young portraitists.
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After a residency of eight months in Rome, the painter planned to follow most of French polite society as it moved to
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volcano with M. Amaury Duval and Sacaut. While in Naples, the artist was also fascinated by the local culture of the
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After two years of marriage, Vigée Le Brun became pregnant, and on 12 February 1780, she gave birth to a daughter,
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Vigée Le Brun toured the countryside during her stay in England. She started with a visit to Margaret Chinnery at
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The artist visited the galleries of several prominent artists while in London, starting with the studio of artist
2494:(or rout-parties), describing them as stuffy and dour. The artist sought out the tree under which the famous poet
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on the way. As she arrived in Naples she was captivated by the view of the city, the distant plumes of smoke from
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comparing it to Raphael's paintings, but also lamented the state of neglect of the lunettes. She also visited the
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After her stepfather retired from his business, he moved his family to the Hôtel de Lubert in Paris where she met
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Aside from two pastel portraits commissioned by the Queen, Vigée Le Brun also painted other pastel portraits of
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Vigée Le Brun painted many other people during her stay in Russia, including the emperor Paul and his consort.
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929:. She was one of only 15 women to be granted full membership in the Académie between 1648 and 1793. Her rival,
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Larkin, T. Lawrence (2003). "'Je ne suis plus la Reine, je suis moi': Marie-Antoinette at the Salon of 1783".
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1939:. She visited the Madonna del Monte, enjoying its commanding view, and sketched the countryside frequently.
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Vigée Le Brun had been acquainted with the young Drouais back in Paris before he departed for Rome, became
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After traversing the rugged trails of the valley, she returned to Berne via Brientz, and then arrived at
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921:. Vigée Le Brun's submission to the Académie royale de peinture et de sculpture upon her admission there
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In yet another of the series of scandals that marked her early career, her 1785 portrait of Louis XVI's
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as being as picturesque as the Swiss countryside. Vigée Le Brun also visited the Duchess of Dorset at
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to see the palatial Roman ruins there. Her entourage included Mme. Silva, the Comte de la Roche-Aymon
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Hottle, Andrew D. (2010). "More Than 'a preposterous neo-classic rehash': Élisabeth Vigée Le Brun's
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2966:, where she was enchanted by the picturesque and wild town. The artist also visited Brown [
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After her departure from Saint Petersburg, Vigée Le Brun travelled – with some difficulty – through
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because Marie Antoinette put considerable pressure on the King on behalf of her portraitist. As her
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before learning that the road there was unsafe. Instead she decided to take refuge in a room above
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Vigée Le Brun witnessed many of the events that accelerated the already rapid deterioration of the
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After returning to Paris from her second visit to Switzerland, Vigée Le Brun purchased a house in
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who wished to make her acquaintance. She also passed through Weimar and Frankfurt on her way.
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once again, undertaking many commissions there, including those of Louis XVI's aunts, mesdames
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Couturier, Elisabeth (16–23 September 2015). "Vigée Le Brun - Une Portraitiste très en cour".
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She worked hard during her three-year residency in Rome, painting numerous subjects including
770:(1949): "Madame Vigée-Lebrun never wearied of putting her smiling maternity on her canvases."
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These memoirs are partially penned by her niece, this opened a debate for their authenticity.
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3356:) paints a portrait of the Comtesse de Vache (Jennifer Saunders) weeping over a dead canary.
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With her desire for travel still not sated, Vigée Le Brun re-entered Switzerland in 1808 via
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2628:(near Naples), these were the only two places where she would happily spend her entire life.
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where she toured the countryside and hiked up local mountains. She resumed her journey over
1330:, In exchange, they asked her for her own palette, which she obliged. She later visited the
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1842:. After spending a week in Verona she left the city, hoping to return to France by way of
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Ménageot, along with the painter Denis, for an excursion to Tivoli. There she visited the
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fashion, and often solicited her sitters to allow her to alter their apparel. Inspired by
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Shortly after her arrival in Paris, Vigée Le Brun was commissioned by the court painter,
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torment to her. She made the acquaintance of one of the most famous singers of her time,
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5388:"Gallery of works by Vigée Le Brun, articles, her memoirs, and biographical information"
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Vigée Le Brun's portrait of Marie Antoinette is featured on the cover of the 2010 album
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After taking the young daughter-in-law of de Salis with her, she departed for the small
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690:, where seeing the works of the Flemish masters inspired her to try new techniques. Her
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2589:. William Herschel showed Vigée Le Brun detailed maps of the moon, among other things.
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On the same day, she was summoned by the members of the Academy of Painting, including
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war. Vigée Le Brun exhibited her staunch royalist sympathies in her memoirs, writing:
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to procure, but the Prince of Wales personally delivered the permit to Vigée Le Brun.
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and to visit Russia. The Prince de Ligne urged her to stay at his former convent atop
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After her father's death, her mother sought to raise her spirits by taking her to the
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in New York, and many other collections in Europe and the United States. Her personal
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3285:. The first major international retrospective exhibition of her art premiered at the
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hailed by the press. Three days after her arrival, a letter arrived for her from the
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On the next day, she visited the Vatican museum; of her visit, she wrote to Robert:
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wore it almost everywhere. At the Queen's urging, Vigée Le Brun visited the Queen's
1993:, as indicated by the Greek inscription on the figure's scroll, which is taken from
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Born in Paris on 16 April 1755, Élisabeth Louise Vigée was the daughter of Jeanne (
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countryside. She and the Duchess toured the countryside there regularly, visiting
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also requested her self-portrait, which she presented them with. She attended the
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During her lifetime, Vigée Le Brun's work was publicly exhibited in Paris at the
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1826:. After departing Padua, she visited Verona, where she spent a week, touring the
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1505:'s niece. She traveled in his spacious carriage to Naples, stopping at an inn in
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Apart from her fellow female artist Kaufmann, Vigée Le Brun found company in the
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The Marquise de Pezay, and the Marquise de Rougé with her Sons Alexis and Adrien
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cemetery of Paris. She also visited the synagogue of Bordeaux, styled after the
2117:. The artist met for the second time in Vienna one of her greatest friends, the
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Elisabeth Vigée Le Brun : The Odyssey of an Artist in an Age of Revolution
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3512:(Note:Though du Barry never wore rouge, another artist added it to her cheeks.)
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In July 1807, the artist crossed to Switzerland, arriving first at the town of
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1326:: they presented her with the palette of the greatly talented deceased painter
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The Exceptional Woman: Elisabeth Vigée-Lebrun and the Cultural Politics of Art
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New home at Louveciennes, the abdications of Napoleon and Bourbon restorations
2779:. She also met the seven-months pregnant Mme. de Brac, who accompanied her to
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2755:, a local banker, who threw a banquet to welcome the artist. She proceeded to
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5063:. Translated by Robert Erich Wolfe. Zürich: Artemis Verlag. pp. 312–313.
4733:(rev. ed.). London: National Gallery Publications Ltd. pp. 328–329.
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After meeting the Queen of Sardinia, Le Brun visited Madame, the wife of the
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of Austria (sister of Marie Antoinette) and her four eldest living children:
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Artists and Musicians: Portrait Studies from the Rococo to the Revolution
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Katherine Baetjer: "Vigée Le Brun: Woman Artist in Revolutionary France."
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Elisabeth Vigée Le Brun: The Odyssey of an Artist in an Age of Revolution
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2984:. She visited an inn where she wanted to visit the infamous landslide of
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602:
568:
5074:
Nikolenko, Lada (1967). "The Russian Portraits of Madame Vigée-Lebrun".
4813:. Translated by Constance Borde and Sheila Malovany-Chevallier. Vintage.
4468:
It appears that she is referring to the 6th century church known as the
1771:, touring the city's landmarks with her. She subsequently witnessed the
1587:
She returned to the volcano several times, visiting it with the painter
1104:
had captivated her when she first saw it in the Louvre. She visited the
387: in this section. Unsourced material may be challenged and removed.
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and many others. She toured Rome's landmarks extensively, visiting the
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after crossing the Savoyard alps. In Turin she met the famous engraver
1048:
Germany (1801), and remained a committed royalist throughout her life.
529:
308:
4523:. Vol. 2 (15th ed.). Boston: Cengage Learning. p. 656.
3121:
2565:, where she received a "charming welcome" and met the famous musician
1182:
where she was enamored of several paintings by old masters, including
5391:
3874:
3234:
3206:
3012:
2860:. Seeing a solitary chalet perched atop Mount Wunchenstein [
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2670:
2523:
2274:
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Of her visit to Mt. Vesuvius, she wrote in a letter to the architect
1506:
1478:
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1199:
972:, 1789. (née Adélaïde Harenc de Praël), the illegitimate daughter of
880:
645:
541:
5406:
4863:
Women, Art and the Politics of Identity in Eighteenth-Century Europe
4678:
The Sweetness of Life: A Biography of Elisabeth Louise Vigée Le Brun
3183:
Her journey to Bordeaux was the last time she traveled extensively.
2891:, where she met the famous dissident socialite and woman of letters
2813:
2631:
She visited Mary Elizabeth Grenville, Marchioness of Buckingham, at
1219:
She then visited the town's most beautiful landmarks, including the
362:
291:
Her artistic style is generally considered part of the aftermath of
5432:
5410:
4882:
Les Femmes artistes à l'Académie royale de peinture et de sculpture
4773:. London: Unicorn Press and Lindsay Fine Art Ltd. pp. 460–462.
3161:
3117:
2981:
2913:
2388:
1998:
1962:
1893:
1768:
1702:
Upon her arrival in Florence, she had a memorable meeting with the
1502:
1454:
1429:
writing of it "...whose scandalous expression defies description".
1268:
As she arrived in Rome, she was surprised by how filthy the famous
1164:
1044:
1000:
grew, the artist's house on the Rue de-Gros-Chenet was harassed by
721:, was the target of a public scandal after it was exhibited in the
683:
679:
4505:. Paris: Éditions de la Réunion des musées nationaux—Grand Palais.
2344:
2092:
While in Vienna, Vigée Le Brun was commissioned to paint Princess
1977:(1792). Lady Hamilton was similarly the model for Vigée Le Brun's
1687:
which gained the complete admiration of Le Brun. She continued to
1449:, and then Neptune's Grotto. De Ménageot also took her to see the
4400:
3247:
3057:
3005:
2963:
2900:
2293:
2191:. Vigée Le Brun painted Catherine's granddaughters (daughters of
2097:
2018:
1970:
1688:
1677:
1673:
1612:
1604:
1596:
1486:
1183:
1160:
1129:
564:
5061:
Masterpieces from the Collection of the Princes of Liechtenstein
3266:(1774), Salon de la Correspondance (1779, 1781, 1782, 1783) and
823:
As her career blossomed, Vigée Le Brun was granted patronage by
5134:"Élisabeth Vigée Le Brun: Woman Artist in Revolutionary France"
4865:. Burlington, VT: Ashgate Publishing Company. pp. 164–187.
3784:
3699:
3646:
3627:
3302:
2985:
2973:
2896:
2888:
2849:
2835:
2816:, where she enjoyed the hospitality of General Baron de Salis.
2625:
2592:
The artist greatly enjoyed the English countryside, describing
2392:
2297:
2203:, in Grecian tunics with exposed arms. The Empress's favorite,
2130:
2014:
2010:
2006:
1994:
1974:
1696:
1592:
1533:
1517:
1494:
1457:, which "evoked many sad thoughts". The entourage continued to
1192:
1171:
1125:
918:
560:
491:
323:
292:
198:
3359:
Vigée Le Brun is one of only three characters in Joel Gross's
3120:
to occupy her mind with something else. She traveled first to
1117:, while she was in mourning for her recently deceased brother
925:
On 31 May 1783, Vigée Le Brun was received as a member of the
905:
5365:
4585:
Christiane, Weidemann; Larass, Petra; Klier, Melanie (2008).
3153:
3137:
3049:
2876:
2812:. After departing from Schaffhausen, she visited the city of
2775:(magistrate), Mme. de Watteville, and the General Ambassador
2748:
2677:, the prefect of Rotterdam and brother in law to the Empress
2597:
2446:
Upon her arrival at London she lodged at the Brunet hotel in
1982:
1954:
1843:
1807:
1714:
1664:
1660:
1564:
1437:
1269:
1084:
1076:
4386:
Le Brun does not mention this child anywhere in her memoirs.
2875:
She returned to Soleure the next day, and then departed for
1953:
While in Italy, Vigée Le Brun was elected to the Academy in
4353:
3277:
exhibition of Vigée Le Brun's work was held in 1982 at the
3089:
3015:, where she was fortunate to arrive in time to witness the
2989:
2780:
2768:
2080:
After meeting Casanova, she presented herself to the aging
1262:
1258:
1135:
She visited the church of Sant'Agnese, of which she wrote:
1036:
773:
In 1788, Vigée Le Brun was impressed with the faces of the
471:; 1728–1800), a hairdresser from a peasant background, and
5357:"Artcyclopedia entry: Marie Louise Élisabeth Vigée-Lebrun"
2037:, the most elevated category in the Académie's hierarchy.
2005:
was Vigée Le Brun's favorite work; it is mentioned in her
5433:"Elizabeth Vigée-Lebrun's Portrait of Giovanni Paisiello"
4361:
3136:
and the ruins surrounding the city. She then traveled to
2977:
2968:
2895:, who was exiled by the Napoleonic regime. She stayed at
2862:
2844:
840:
4898:
Adélaïde Labille-Guiard: Artist in the Age of Revolution
4572:
Marie-Antoinette and her children, by Mme. Vigée Le Brun
3916:
Copy of her 1790 self-portrait, originally done for the
3270:(1783, 1785, 1787, 1789, 1791, 1798, 1802, 1817, 1824).
2339:
2148:
She was completely enamored of the painting, and wrote:
5278:"Ambition: A Minuet in Power's extravagant aspirations"
4771:
The Wallace Collection's Pictures: A Complete Catalogue
4630:. Translated by Siân Evans. London: Camden Press. 1989.
4521:
Gardner's Art through the Ages: The Western Perspective
3289:
in Paris (2015—2016). It was subsequently shown at the
2616:(the future King Louis Philippe). She then visited the
2504:, but was surprised to find that it had been cut down.
1946:
and resided on one of the two islands in the lake, the
1239:, where she entered the cloister and was enthralled by
702:. Dutch and Flemish influences have also been noted in
5376:"Works of art by Vigée Le Brun in British Collections"
2928:. The journey was perilous. The entourage visited the
2903:, a character from Mme. de Staël's most recent novel,
2618:
Margravine of Brandenburg-Ansbach, the Baroness Craven
2553:
was abrogated, and hostilities between France and the
5400:"Vigée Le Brun: Woman Artist in Revolutionary France"
5233:"How a Queen Lost Her Heart Before She Lost Her Head"
4584:
3506:." One of three Vigée Le Brun portraits, including a
2830:. exhibited in 1783 at the Salon de la Correspondance
2373:
1465:. She also made frequent excursions to the summit of
5327:, Translated by Lionel Strachey, Copyright 1903, by
5017:
The Arts of France from François Ier to Napoléon Ier
3186:
2009:
more than any other work. She displayed it while in
741:
In 1787, she caused a minor public scandal when her
612:, a painter, art dealer and relation of the painter
4786:
The Great Nation: France from Louis XIV to Napoleon
2577:on the outskirts of London before leaving to visit
941:, Vigée Le Brun submitted an allegorical painting,
545:correct baptismal order would be Élisabeth Louise.
4954:
3546:Marie-Gabrielle de Gramont, Duchesse de Caderousse
3338:In the episode "The Portrait" from the BBC series
2996:, intending to visit the spot where the legendary
1814:, praising the church's frescos that were made by
1178:and the room of the Niobids. She then visited the
3030:
2233:Bernard Nigris, secretary to the Director of the
1174:, where she saw the widely-celebrated and famous
284:, was a French painter who mostly specialized in
5622:
2664:
2470:, where she was greatly affected by the tomb of
528:; the artist took notes and copied the works of
276:; 16 April 1755 – 30 March 1842), also known as
187:Life Study of Lady Hamilton as the Cumaean Sybil
3998:
3313:The 2014 docudrama made for French television,
3308:
2133:. She also visited Dresden on her way, and the
1627:, and it became one of her favorite landmarks.
745:was exhibited at that year's Salon showing her
5554:Portrait of Countess Yekaterina von Engelhardt
4501:Baillio, Joseph; Salmon, Xavier, eds. (2015).
4194:Ekaterina Feodorovna Baryatinskaya-Dolgorukova
4114:
3802:, 1790. Private Collection. Painted in Naples.
3402:
3323:An episode of the 1980 BBC television series,
3191:The artist formed an intimate friendship with
2852:. The artist then continued to the village of
2722:, to paint a portrait of the Emperor's sister
2604:. She returned to London, where she found the
475:, a portraitist, pastellist and member of the
345:, she published her memoirs in three volumes (
303:society by serving as the portrait painter to
5573:The Interior of an Atelier of a Woman Painter
5459:
4500:
4295:Museum of Fine Arts (St. Petersburg, Florida)
3766:
3327:, presented by the art historian and author,
3319:The Fabulous Life of Elisabeth Vigée Le Brun.
3315:Le fabuleux destin d'Elisabeth Vigée Le Brun,
2950:, painted during her travels to Switzerland.
2824:Innocence takes refuge in the arms of Justice
2391:for the first time, from a window inside the
2137:fortress, where she made the acquaintance of
1790:While in Venice, she visited the churches of
1528:two days after her arrival. Soon afterwards,
1485:among others. One of these excursions around
1453:, and the ancient ruins of the Roman town of
1272:was. She headed to the French Academy in the
288:, in the late 18th and early 19th centuries.
69:. Please discuss this issue on the article's
5538:Portrait of Countess Yekaterina Skavronskaya
5159:"Elisabeth Louise Vigée Le Brun (1755–1842)"
5054:
5052:
4697:
4695:
4693:
4691:
4689:
4687:
3344:(1999) written by Peter Learmouth, starring
2771:, where she was received by the wife of the
2546:, the Duc de Serant and the Duc de Rivière.
2323:During her stay in Berlin, she met with the
2313:, where the artist enjoyed the countryside.
5473:
5313:
5010:
5008:
4768:
2247:Souvenirs De Madame Vigée Le Brun, Page 213
1961:in Rome (1790). Vigée Le Brun also painted
1929:She also saw various cartoons of Raphael's
1806:last concert. She soon departed Venice for
1738:had always been one of my favourite works.
927:Académie royale de peinture et de sculpture
906:Académie royale de peinture et de sculpture
764:dismissed Vigée Le Brun as narcissistic in
5466:
5452:
5430:
5230:
5210:Anita Brookner on Art: 100 Great Paintings
5019:. New York: Wildenstein. pp. 325–329.
4992:
4990:
4988:
4986:
4984:
4982:
4980:
4978:
4948:
4946:
4944:
4917:
4915:
4913:
4911:
4909:
4907:
4874:
4872:
4668:
4666:
4664:
3502:of Louis XV of France and a victim of the
3457:Musée de l'Histoire de France (Versailles)
2899:with Madame de Staël, whom she painted as
2474:, and visited the sarcophagi of the poets
1981:(1792), which was inspired by the painted
1713:After departing Florence she travelled to
1292:later on to see Raphael's much criticized
1261:. She soon left Florence and departed for
1170:While in Florence, she visited the famous
696:(1782) was a "free imitation" of Rubens's
102:
5323:Memoirs of Madame Élisabeth Vigée Le Brun
5275:
5251:"Hole Reveal New Album Art and Tracklist"
5117:
5073:
5067:
5058:
5049:
5039:Aurora: The Journal of the History of Art
5028:
5026:
4895:
4854:
4829:Aurora: The Journal of the History of Art
4822:
4820:
4684:
4622:
4620:
4618:
4616:
4614:
4612:
4610:
4608:
4606:
4604:
4514:
4512:
3645:, actrice de la Comédie italienne, 1786.
2549:Shortly after her arrival in London, the
1680:. In the latter town she found Raphael's
1223:, where she saw the Gates of Paradise by
447:Learn how and when to remove this message
5341:
5005:
4808:
4728:
4496:
4494:
4492:
4490:
4488:
4446:Not to be mistaken with the more famous
4153:Princess Ekaterina Nikolaevna Menshikova
3781:Self-portrait, painting Marie Antoinette
3205:
2939:
2818:
2698:
2542:(future King Charles X) and his son the
2452:M. François-Auguste Parseval-Grandmaison
2354:
2338:
2209:
2167:
2044:
1892:under the command of the rising general
1870:storming of the Tuileries in 10th August
1265:, arriving there in late November 1789.
1050:
1011:. Later in her life, in a letter to the
964:
909:
844:
809:
792:
655:
547:
307:. She enjoyed the patronage of European
5303:"The Portrait Gallery: Madame du Barry"
5295:
5014:
4996:
4975:
4941:
4930:
4921:
4904:
4878:
4869:
4860:
4845:
4672:
4661:
4518:
1775:. During the celebrations, she met the
1773:marriage of Venice and the Sea ceremony
14:
5623:
5431:Rice, John A.; Heartz, Daniel (2014).
5097:. Yale University Press. p. 201.
5032:
5023:
4826:
4817:
4788:. London: Penguin Books. p. 364.
4628:The Memoirs of Elisabeth Vigée-Le Brun
4601:
4545:"National Museum of Women in the Arts"
4509:
3379:Élisabeth Vigée Le Brun is a dateable
3064:in the final stages of the war of the
2935:
2742:
2600:in Kent, which had once been owned by
1231:, and Michelangelo's mausoleum at the
841:Marie Antoinette and her Children 1787
5447:
5367:Dictionary of Pastellists before 1800
4783:
4701:
4647:. Taylor & Francis. p. 678.
4485:
4352:There are several variant spellings:
4197:, 1796. Yamazaki Mazak Museum of Art.
3333:Self-portrait with her Daughter, 1789
3074:the pumping machine at Marly aqueduct
2842:, then visited Rappercheld [
2235:Imperial Theaters of Saint Petersburg
1849:In Turin she referred herself to the
1087:, where she met the Comte de Flavigny
960:
758:Self-portrait with her Daughter Julie
743:Self-portrait with her Daughter Julie
661:Self-portrait with her Daughter Julie
465:
271:
5546:Portrait of Princess Maria Christina
5363:
4961:. New Haven: Yale University Press.
4900:. Los Angeles: J. Paul Getty Museum.
4731:The National Gallery Companion Guide
4640:
4276:National Museum of Women in the Arts
3361:Marie Antoinette: The Color of Flesh
2804:where she was received by the local
2325:General Plenipotentiary Bournonville
1763:and numerous other local landmarks.
678:In 1781, she and her husband toured
636:Her husband's great-great-uncle was
597:), the Marquis de Choiseul, and the
517:'s art gallery; seeing the works of
385:adding citations to reliable sources
356:
29:
5184:"Arnaud XAINTE – Producer/Director"
5092:
4952:
4769:Duffy, Stephen; Hedley, Jo (2004).
4708:Grove Art Online. Oxford Art Online
4644:Concise Dictionary of Women Artists
4569:
4434:He was also Grand Commander of the
4173:Anna Ivanovna Baryatinskaya Tolstoy
4132:submitted for her admission to the
3391:published by Joy Manufacturing Co.
3287:Galeries nationales du Grand Palais
2094:Maria Josepha Hermengilde Esterházy
1276:where the director of the academy,
788:
586:favorites), the Comtesse de Brionne
27:French portrait painter (1755–1842)
24:
5666:19th-century French letter writers
5641:18th-century French letter writers
5348:The Memoirs of Madame Vigée Lebrun
5276:Valentine, Rebekah (9 July 2020).
5231:Genzlinger, Neil (11 April 2007).
4937:Madame Guilotine, Madame Perregaux
4128:Self-portrait of herself painting
4051:Princess Karoline of Liechtenstein
4013:La Comtesse Maria Theresia Bucquoi
3937:Fine Arts Museums of San Francisco
2374:Return to France and stay at Paris
2367:Musée d'Art et d'Histoire (Geneva)
2305:where her stay was uncomfortable.
1342:, who was a gracious host to her.
1148:, the Palazzo Bonfigliola and the
830:Marie-Antoinette in a Muslin Dress
25:
5747:
5676:19th-century French women artists
5656:18th-century French women artists
5522:Portrait of Muhammad Dervish Khan
5514:Marie Antoinette and Her Children
5439:. Ann Arbor: Steglein Publishing.
5335:
5037:and its Virgilian Connotations".
5001:. Fort Worth: Kimbell Art Museum.
4926:. Chicago: University of Chicago.
4704:"Vigée Le Brun, Elisabeth-Louise"
4578:
3246:near her old home. Her tombstone
3187:Friendship with Antoine Jean-Gros
2399:greatly complimenting her famous
2300:after an exhausting journey. The
2050:Princess von Esterhazy as Ariadne
1855:her husband, the King of Sardinia
1501:, widow of the painter Denis and
872:Marie Antoinette and her Children
851:Marie Antoinette and her Children
651:
5414:
5407:Works by Élisabeth Vigée Le Brun
4680:. London: André Deutsch Limited.
4587:50 Women Artists You Should Know
4302:
4283:
4264:
4243:
4224:
4202:
4185:
4164:
4145:
4134:Saint Petersburg Academy of Arts
4121:
4096:
4077:
4062:
4043:
4024:
4005:
3980:
3965:
3944:
3925:
3909:
3888:
3866:
3845:
3826:
3807:
3792:
3773:
3747:
3728:
3707:
3686:
3669:
3654:
3635:
3616:
3597:
3578:
3557:
3538:
3517:
3484:
3464:
3443:
3428:
3409:
2704:Juno Borrowing the Belt of Venus
2158:Élisabeth Vigée Le Brun, Memoirs
1669:Monte Somma across the Apennines
361:
273:[elizabɛtlwizviʒeləbʁœ̃]
250:
49:to read and navigate comfortably
34:
5269:
5243:
5224:
5201:
5176:
5151:
5126:
5111:
5086:
4889:
4839:
4802:
4777:
4762:
4737:
4722:
4462:
4453:
4440:
4428:
4421:This portrait depicted Anne as
4415:
4406:
4389:
4380:
4314:, former King of Poland, 1796.
4311:Stanislaus Augustus Poniatowski
3624:Self-portrait with her Daughter
3092:, after which he initiated the
2685:, who had been executed during
2635:. She also went to the home of
2115:Cornelia, mother of the Gracchi
1695:and hen on to Lise, Combuccia,
1522:Countess Catherine Skavronskaïa
1163:countryside, and from there to
605:(the future King Louis XVIII).
372:needs additional citations for
51:. When this tag was added, its
5646:18th-century French memoirists
5351:– via Project Gutenberg.
5343:Vigée-Lebrun, Louise-Elisabeth
4999:Elisabeth Louise Vigée Le Brun
4745:"Self-Portrait in a Straw Hat"
4634:
4563:
4537:
4519:Kleiner, Fred S., ed. (2015).
4503:Élisabeth Louise Vigée Le Brun
4371:
4346:
4272:Anna Beloselskaya-Belozerskaya
3800:Emma, Lady Hamilton as Ariadne
3719:, 1788. Exhibited in the 1779
3268:Salon of the Académie in Paris
3257:
3254:" (Here, at last, I rest...).
3229:, the painter and antiquarian
3201:
3152:. Afterwards, she traveled to
3031:Return to Paris and later life
2052:, 1793. Princely Collections,
1989:. The painting represents the
1824:church of St. John the Baptist
278:Louise Élisabeth Vigée Le Brun
265:Élisabeth Louise Vigée Le Brun
18:Louise Élisabeth Vigée Le Brun
13:
1:
5402:. Metropolitan Museum of Art.
5329:Doubleday, Page & Company
5015:Baillio, Joseph, ed. (2005).
4478:
4448:Charles-Maurice de Talleyrand
4257:Barber Institute of Fine Arts
4070:Countess Siemontkowsky-Bystry
3834:Luisa Maria Amelia di Borbone
3478:Musée de l'Histoire de France
3476:, sister of Louis XVI. 1782,
2992:. Vigée Le Brun then climbed
2972:] and the market town of
2828:Musée des Beaux-Arts d'Angers
2665:Return to France from England
2029:, Vigée Le Brun regarded her
2027:Peace Bringing Back Abundance
1719:Academy of Fine Arts of Parma
943:Peace Bringing Back Abundance
915:Peace bringing back abundance
459:
5686:French neoclassical painters
5671:19th-century French painters
5651:18th-century French painters
5498:Marie Antoinette with a Rose
5490:Self-Portrait in a Straw Hat
5435:. In Wilcox, Beverly (ed.).
5320:University of Pennsylvania,
5059:Baumstark, Reinhold (1981).
4811:Extracts from The Second Sex
4809:Beauvoir, Simone de (2009).
4574:. Paris: L'Oeil. p. 90.
4017:Minneapolis Institute of Art
3999:Portraits painted in Austria
3897:Emma Hamilton as a Bacchante
3566:Charles-Alexandre de Calonne
3436:Self-portrait in a Straw Hat
3309:Portrayal in popular culture
2952:Minneapolis institute of Art
2751:, where she was received by
2185:Stanisław August Poniatowski
2173:Alexandra and Elena Pavlovna
1155:Soon after, she crossed the
1032:Versailles to the Tuilleries
947:La Paix ramenant l'Abondance
799:Marie Antoinette with a Rose
693:Self-portrait in a Straw Hat
640:, the first director of the
610:Jean-Baptiste-Pierre Le Brun
553:Self-portrait at age sixteen
352:
295:with elements of an adopted
213:Jean-Baptiste-Pierre Le Brun
181:Self-portrait in a Straw Hat
167:Marie Antoinette with a rose
110:Self-portrait in a Straw Hat
7:
5711:French women pastel artists
5681:19th-century women painters
5661:18th-century women painters
5597:Jean-Baptiste-Pierre Lebrun
5413:(public domain audiobooks)
5122:(in French). No. 3461.
4322:
4157:National Gallery of Armenia
4115:Portraits painted in Russia
4072:, 1793. Private collection.
3681:, 1788. Private collection.
3550:Nelson-Atkins Museum of Art
3403:Portraits painted in France
3389:Ambition: A Minuet in Power
3331:, featured Vigée Le Brun's
3124:, where she resided in the
2793:. She went on to visit the
2706:, 1781. Private Collection.
900:The Apotheosis of the Queen
226:2nd child who died at birth
61:content into sub-articles,
10:
5752:
5331:, Published, October, 1903
5220:– via www.bbc.co.uk.
5163:National Gallery of Canada
5138:Metropolitan Museum of Art
4178:National Gallery of Canada
3767:Portraits painted in Italy
3609:Metropolitan Museum of Art
3531:Metropolitan Museum of Art
3510:that she finished in 1805.
3438:, National Gallery, London
3397:
3383:in the historically-based
3299:National Gallery of Canada
3291:Metropolitan Museum of Art
2808:, who took her to see the
2673:, where she first visited
2498:was said to have composed
2437:
2413:; then 82 years old and a
2287:
2102:Karoline von Liechtenstein
2040:
1890:French troops, campaigning
1777:Prince Augustus of England
1416:Santa Maria della Vittoria
1412:San Paolo la Fuori le Mura
1064:Metropolitan Museum of Art
835:Marie-Antoinette en gaulle
816:Marie-Antoinette en gaulle
336:Metropolitan Museum of Art
174:Marie Antoinette en gaulle
5583:
5564:
5481:
5426:Modern Arts Notes Podcast
4922:Sheriff, Mary D. (1996).
4896:Auricchio, Laura (2009).
4885:. Paris: Charavay Frères.
4710:. Oxford University Press
4108:National Trust collection
4085:Pélagie Sapieżyna-Potocka
3992:National Trust collection
3854:Maria Cristina of Bourbon
3244:Cimetière de Louveciennes
3210:Vigée Le Brun's grave in
2916:, intending to visit the
2363:as Corinne at Cape Miseno
2163:
1828:ruins of the Amphitheatre
1404:San Lorenzo Fuori le Mura
1203:Portrait of a Philosopher
833:(1783), sometimes called
579:, Comte Pierre Chouvaloff
396:"Élisabeth Vigée Le Brun"
258:
249:
244:
240:
230:
218:
208:
194:
157:
141:
118:
101:
94:
5696:French portrait painters
5378:. Art UK. Archived from
5314:Literature and resources
4997:Baillio, Joseph (1982).
4879:Fidière, Octave (1885).
4729:Langmuir, Erika (1997).
4339:
4032:Theresa, Countess Kinsky
3352:, Madame Vigée Le Brun (
3252:Ici, enfin, je repose...
3170:Comte de Tournon-Simiane
3148:, residence of the late
3054:Pavillon de Louveciennes
3011:The artist then visited
3000:was said to have killed
2683:Alexandre de Beauharnais
2679:Joséphine de Beauharnais
1907:Santa Maria delle Grazie
1836:Church of Sant'Anastasia
1516:She initially lodged in
1070:
783:portrait of Dervish Khan
5701:French women memoirists
5475:Élisabeth Vigée Le Brun
4366:Elisabeth Vigée-Le Brun
4217:Baltimore Museum of Art
4212:Ana Gruzinsky Galitzine
3957:Jacquemart-André museum
3755:Vicomtesse de Vaudreuil
3062:advancing towards Paris
2675:François de Beauharnais
2534:and the famous actress
2329:the Academy of Painting
1901:issued on 3 June 1793.
1818:, and also visited the
1812:Church of the Eremitani
1425:Ecstasy of Saint Teresa
1235:. She also visited the
931:Adélaïde Labille-Guiard
599:Chancellor de Aguesseau
593:(future mother of King
96:Élisabeth Vigée Le Brun
5076:Gazette des Beaux-Arts
4329:Marie-Victoire Lemoine
4316:Versailles Collection.
4291:Julie Le Brun as Flora
3902:Lady Lever Art Gallery
3455:, 1782 oil on canvas.
3421:Saint Louis Art Museum
3214:
3140:where she visited the
3103:
2955:
2873:
2831:
2737:
2707:
2649:Sir William Hamilton's
2410:Premier peintre du Roi
2370:
2352:
2250:
2226:
2180:
2161:
2057:
2054:House of Liechtenstein
1927:
1792:Santi Giovanni e Paolo
1740:
1585:
1320:
1307:
1142:
1113:and Duchess of Parma,
1106:church of San Giovanni
1075:The artist arrived in
1067:
1022:
988:. While travelling to
981:
976:, banker to Louis XV.
922:
869:Vigée Le Brun's later
866:
820:
807:
668:
556:
496:Gabriel François Doyen
123:Élisabeth Louise Vigée
5706:French women painters
5691:French pastel artists
5530:Comtesse de la Châtre
4784:Jones, Colin (2003).
4702:Nicholson, Kathleen.
3975:, Private collection.
3952:Countess Skavronskaia
3918:accademia di St. Luca
3678:Muhammad Dervish Khan
3605:Comtesse de La Châtre
3264:Académie de Saint-Luc
3209:
3146:Château de Chanteloup
3098:
2943:
2868:
2822:
2763:to visit the home of
2732:
2702:
2681:(brother to the late
2407:, who was the former
2358:
2342:
2239:
2213:
2171:
2150:
2048:
1959:Accademia di San Luca
1937:Biblioteca Ambrosiana
1922:
1898:Assemblée législative
1832:San Giorgio in Braida
1757:Church of Sant'Andrea
1723:
1580:
1400:San Pietro in Vincoli
1311:
1302:
1237:Santissima Annunziata
1229:Church of San Lorenzo
1137:
1124:She first arrived in
1054:
1017:
968:
913:
894:Later on, during the
848:
813:
796:
659:
618:Saint-Eustache church
573:Académie de Saint-Luc
551:
477:Académie de Saint-Luc
330:in Saint Petersburg,
5716:French women writers
5382:on 11 November 2018.
4850:(310): 53–60, 90–91.
4641:Gaze, Delia (2001).
4450:, Napoleon's patron.
4089:Royal Castle, Warsaw
4055:Liechtenstein Museum
3859:Museo di Capodimonte
3838:Museo di Capodimonte
3819:Museo di Capodimonte
3815:Francesco di Borbone
3452:Duchesse de Polignac
3381:non-player character
3158:Marmoutier monastery
3126:Château de Méréville
2980:, where she crossed
2945:Lake of Challes and
2918:Sallanches mountains
2785:Lauterbrunnen Valley
2669:Her ship arrived in
2472:Mary, Queen of Scots
2217:Elizabeth Alexeievna
2144:Madonna di San Sisto
1796:Church of Saint Mark
1530:Sir William Hamilton
1332:Flavian Amphitheater
1328:Jean Germain Drouais
1196:portrait of Paul III
1060:as the Cumaean Sybil
1015:, the artist wrote:
951:category of painting
877:Palace of Versailles
856:Palace of Versailles
804:Palace of Versailles
704:The Comte d'Espagnac
699:Le Chapeau de Paille
515:Palais de Luxembourg
500:Jean-Baptiste Greuze
381:improve this article
5726:Painters from Paris
5394:on 5 December 1998.
5188:francecanadaculture
4589:. Munich: Prestel.
4470:Temple of Clitumnus
4036:Norton Simon Museum
3643:Madame Molé-Reymond
3590:Musée des Augustins
3508:posthumous portrait
3473:Élisabeth of France
3325:100 Great Paintings
3142:Château de Chambord
3017:Shepherd's festival
2962:, and then visited
2936:Switzerland in 1808
2906:Corinne ou l'Italie
2743:Switzerland in 1807
2432:Adèle de Bellegarde
2273:and the princesses
2259:Emperor Alexander I
2189:Catherine the Great
2123:Catherine the Great
1911:Leonardo Da Vinci's
1894:Napoleon Buonaparte
1874:Moncalieri hillside
1447:Temple of the Sibyl
1221:Florence Baptistery
1188:Madonna della Sedia
1159:and arrived in the
863:Bourbon restoration
731:Mlle. de de Arnould
715:minister of finance
673:Jeanne Lucie Louise
53:readable prose size
5370:(Online ed.).
5093:May, Gita (2005).
4953:May, Gita (2005).
4236:Maria Razumovskaya
4232:Princess Golitsyna
3740:Kimbell Art Museum
3586:Baronne de Crussol
3499:Maîtresse-en-titre
3279:Kimbell Art Museum
3239:Comtesse de Genlis
3215:
3160:. She then passed
2956:
2922:Aiguille du Goûter
2832:
2783:, and then to the
2724:Caroline Bonaparte
2708:
2610:Duc de Montpensier
2606:Comte de Vaudreuil
2428:Duchesse de Fleury
2389:Napoleon Bonaparte
2371:
2353:
2332:sought out by the
2318:Prince Ferdinand's
2227:
2201:Alexandra Pavlovna
2181:
2058:
1942:She later visited
1876:, overlooking the
1866:Mme. de Gourbillon
1840:Church of San Zeno
1820:Basilica del Santo
1781:Princess de Monaco
1683:Madonna di Foligno
1451:Villa Aldobrandini
1434:Duchesse de Fleury
1241:Andrea del Sarto's
1068:
982:
978:Wallace Collection
961:Flight from France
923:
867:
821:
808:
762:Simone de Beauvoir
736:Comte de Vaudreuil
669:
591:Duchess of Orléans
557:
5618:
5617:
5282:GamesIndustry.biz
4674:Goodden, Angelica
4654:978-1-57958-335-4
4570:Baillio, Joseph.
4530:978-1-305-64505-9
4403:before his death.
3496:, 1782. The last
3369:Nobody's Daughter
3350:Jennifer Saunders
3341:Let Them Eat Cake
3283:Fort Worth, Texas
3223:Louis Aimé-Martin
3193:Antoine-Jean Gros
3178:temple of Solomon
3114:Duchesse de Berri
2713:Angelica Catalani
2587:Caroline Herschel
2468:Westminster Abbey
2381:Comédie-Française
2334:Duke of Brunswick
1862:Comte de Provence
1851:Queen of Sardinia
1657:Civita Castellana
1617:museum at Portici
1336:Angelica Kaufmann
1245:Madonna del Sacco
1150:Palazzo Sampierei
1119:Emperor Joseph II
1094:, whose painting
1041:Beauvoisin bridge
1013:Princess Kourakin
998:French Revolution
994:Maréchal de Ségur
603:Comte de Provence
519:Peter Paul Rubens
457:
456:
449:
431:
317:old Dutch masters
286:portrait painting
262:
261:
88:
87:
55:was 15,106 words.
16:(Redirected from
5743:
5468:
5461:
5454:
5445:
5444:
5440:
5418:
5417:
5403:
5395:
5390:. Archived from
5383:
5371:
5364:Jeffares, Neil.
5360:
5352:
5307:
5306:
5305:. 15 April 2016.
5299:
5293:
5292:
5290:
5288:
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5264:
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5247:
5241:
5240:
5228:
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5219:
5217:
5205:
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5174:
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5130:
5124:
5123:
5115:
5109:
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5071:
5065:
5064:
5056:
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5030:
5021:
5020:
5012:
5003:
5002:
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4972:
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4950:
4939:
4934:
4928:
4927:
4919:
4902:
4901:
4893:
4887:
4886:
4876:
4867:
4866:
4858:
4852:
4851:
4843:
4837:
4836:
4824:
4815:
4814:
4806:
4800:
4799:
4781:
4775:
4774:
4766:
4760:
4759:
4757:
4755:
4749:National Gallery
4741:
4735:
4734:
4726:
4720:
4719:
4717:
4715:
4699:
4682:
4681:
4670:
4659:
4658:
4638:
4632:
4631:
4624:
4599:
4598:
4582:
4576:
4575:
4567:
4561:
4560:
4558:
4556:
4547:. Archived from
4541:
4535:
4534:
4516:
4507:
4506:
4498:
4472:
4466:
4460:
4457:
4451:
4444:
4438:
4436:Knights of Malta
4432:
4426:
4419:
4413:
4410:
4404:
4393:
4387:
4384:
4378:
4375:
4369:
4350:
4306:
4287:
4268:
4252:Varvara Golovina
4247:
4228:
4206:
4189:
4168:
4149:
4138:Hermitage Museum
4125:
4100:
4081:
4066:
4047:
4028:
4009:
3984:
3973:Countess Potocka
3969:
3948:
3929:
3913:
3892:
3881:Hermitage Museum
3870:
3849:
3830:
3811:
3796:
3777:
3751:
3732:
3723:. Louvre Museum.
3711:
3690:
3673:
3658:
3639:
3620:
3601:
3582:
3571:Royal Collection
3561:
3542:
3521:
3488:
3468:
3447:
3432:
3413:
3221:, the writer M.
3060:troops who were
3021:Unspunnen castle
2836:island of Ufenau
2761:Île Saint-Pierre
2583:William Herschel
2551:Treaty of Amiens
2448:Leicester Square
2419:Directory period
2397:Lucien Bonaparte
2302:Queen of Prussia
2267:Count Stroganoff
2248:
2223:Hermitage Museum
2177:Hermitage Museum
2159:
2035:history painting
2023:Saint Petersburg
1973:(1790) and as a
1932:School of Athens
1418:, where she saw
1408:St. John Lateran
1388:Countess Potocka
1365:The Rome Academy
1352:Piazza di Spagna
1288:She climbed the
1251:Palazzo Altoviti
1176:Venus de' Medici
970:Madame Perregaux
825:Marie Antoinette
789:Marie Antoinette
752:Mémoires secrets
708:Madame Perregaux
629:de Arenberg and
620:, with only two
582:(one of Empress
577:the Comte Orloff
526:Marquis de Levis
481:Rue Saint-Honoré
470:
452:
445:
441:
438:
432:
430:
389:
365:
357:
332:National Gallery
328:Hermitage Museum
305:Marie Antoinette
275:
270:
254:
160:
148:
132:
130:
106:
92:
91:
83:
80:
74:
38:
37:
30:
21:
5751:
5750:
5746:
5745:
5744:
5742:
5741:
5740:
5731:Rococo painters
5621:
5620:
5619:
5614:
5579:
5575: (Lemoine)
5560:
5477:
5472:
5415:
5398:
5386:
5374:
5355:
5338:
5316:
5311:
5310:
5301:
5300:
5296:
5286:
5284:
5274:
5270:
5260:
5258:
5257:. 25 March 2010
5249:
5248:
5244:
5229:
5225:
5215:
5213:
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5202:
5192:
5190:
5182:
5181:
5177:
5167:
5165:
5157:
5156:
5152:
5142:
5140:
5132:
5131:
5127:
5116:
5112:
5105:
5091:
5087:
5072:
5068:
5057:
5050:
5031:
5024:
5013:
5006:
4995:
4976:
4969:
4951:
4942:
4935:
4931:
4920:
4905:
4894:
4890:
4877:
4870:
4859:
4855:
4844:
4840:
4825:
4818:
4807:
4803:
4796:
4782:
4778:
4767:
4763:
4753:
4751:
4743:
4742:
4738:
4727:
4723:
4713:
4711:
4700:
4685:
4671:
4662:
4655:
4639:
4635:
4626:
4625:
4602:
4583:
4579:
4568:
4564:
4554:
4552:
4551:on 2 April 2017
4543:
4542:
4538:
4531:
4517:
4510:
4499:
4486:
4481:
4476:
4475:
4467:
4463:
4458:
4454:
4445:
4441:
4433:
4429:
4420:
4416:
4411:
4407:
4394:
4390:
4385:
4381:
4376:
4372:
4351:
4347:
4342:
4325:
4318:
4307:
4298:
4288:
4279:
4269:
4260:
4248:
4239:
4229:
4220:
4207:
4198:
4190:
4181:
4169:
4160:
4150:
4141:
4130:Louise of Baden
4126:
4117:
4110:
4101:
4092:
4082:
4073:
4067:
4058:
4048:
4039:
4029:
4020:
4010:
4001:
3994:
3985:
3976:
3970:
3961:
3960:
3949:
3940:
3930:
3921:
3914:
3905:
3893:
3884:
3871:
3862:
3850:
3841:
3831:
3822:
3812:
3803:
3797:
3788:
3778:
3769:
3762:
3752:
3743:
3733:
3724:
3712:
3703:
3691:
3682:
3674:
3665:
3659:
3650:
3640:
3631:
3621:
3612:
3602:
3593:
3583:
3574:
3562:
3553:
3543:
3534:
3522:
3513:
3511:
3504:Reign of Terror
3493:Madame du Barry
3489:
3480:
3469:
3460:
3448:
3439:
3433:
3424:
3414:
3405:
3400:
3311:
3297:(2016) and the
3260:
3235:Saint Geneviève
3231:Comte de Forbin
3225:, the composer
3204:
3189:
3150:Duc de Choiseul
3066:Sixth Coalition
3038:
3033:
2938:
2930:Bossons Glacier
2893:Madame de Staël
2797:in the valley.
2795:Staubbach Falls
2745:
2691:General Oudinot
2667:
2658:Blenheim Palace
2524:Prince of Wales
2440:
2376:
2361:Madame de Staël
2290:
2249:
2246:
2166:
2160:
2157:
2119:Prince de Ligne
2067:Countess Kinska
2043:
1957:(1789) and the
1882:Prince Ysoupoff
1785:Reign of Terror
1751:, the house of
1745:local Cathedral
1653:Auguste Rivière
1463:Hadrian's Villa
1371:, delivered by
1369:pope's blessing
1340:Cardinal Bernis
1294:The Last Supper
1215:and many others
1146:Palazzo Caprara
1073:
1027:national guards
974:Nicolas Beaujon
963:
939:reception piece
908:
891:death in 1789.
859:
843:
791:
777:ambassadors of
654:
638:Charles Le Brun
614:Charles Le Brun
555:, 1771, pastel.
483:, close to the
462:
453:
442:
436:
433:
390:
388:
378:
366:
355:
313:Joshua Reynolds
268:
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28:
23:
22:
15:
12:
11:
5:
5749:
5739:
5738:
5733:
5728:
5723:
5721:Le Brun family
5718:
5713:
5708:
5703:
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5442:
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5428:
5419:
5404:
5396:
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5372:
5361:
5353:
5337:
5336:External links
5334:
5333:
5332:
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5309:
5308:
5294:
5268:
5242:
5237:New York Times
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3789:
3779:
3772:
3768:
3765:
3764:
3763:
3753:
3746:
3744:
3734:
3727:
3725:
3713:
3706:
3704:
3692:
3685:
3683:
3675:
3668:
3666:
3660:
3653:
3651:
3641:
3634:
3632:
3622:
3615:
3613:
3603:
3596:
3594:
3584:
3577:
3575:
3563:
3556:
3554:
3544:
3537:
3535:
3523:
3516:
3514:
3490:
3483:
3481:
3470:
3463:
3461:
3449:
3442:
3440:
3434:
3427:
3425:
3415:
3408:
3404:
3401:
3399:
3396:
3329:Anita Brookner
3310:
3307:
3259:
3256:
3203:
3200:
3188:
3185:
3174:Père La Chaise
3130:English Garden
3037:
3034:
3032:
3029:
2937:
2934:
2858:Jura mountains
2790:Arabian Nights
2744:
2741:
2666:
2663:
2641:Warwick Castle
2626:Isle of Ischia
2555:United Kingdom
2540:Comte d'Artois
2532:Lord Borington
2460:Portman Square
2439:
2436:
2387:where she saw
2375:
2372:
2311:Peacock Island
2289:
2286:
2263:Empress Louise
2244:
2215:Grand Duchess
2165:
2162:
2155:
2082:Prince Kaunitz
2075:Prince Kaunitz
2063:Countess Thoun
2042:
2039:
1920:Writing of it;
1761:Palazzo del Te
1693:Lake Trasimene
1625:Virgil's grave
1558:Maria Cristina
1542:Maria Carolina
1511:Mount Vesuvius
1290:Sistine chapel
1278:M. de Ménageot
1255:Medici library
1172:Medici gallery
1072:
1069:
1056:Life Study of
962:
959:
907:
904:
842:
839:
790:
787:
767:The Second Sex
653:
652:Daughter Julie
650:
642:French Academy
595:Louis Philippe
461:
458:
455:
454:
369:
367:
360:
354:
351:
282:Madame Le Brun
260:
259:
256:
255:
247:
246:
242:
241:
238:
237:
232:
228:
227:
220:
216:
215:
210:
206:
205:
196:
192:
191:
190:
189:
184:
177:
170:
161:
155:
154:
151:
149:(aged 86)
143:
139:
138:
135:
122:
120:
116:
115:
107:
99:
98:
95:
86:
85:
65:it, or adding
42:
40:
33:
26:
9:
6:
4:
3:
2:
5748:
5737:
5734:
5732:
5729:
5727:
5724:
5722:
5719:
5717:
5714:
5712:
5709:
5707:
5704:
5702:
5699:
5697:
5694:
5692:
5689:
5687:
5684:
5682:
5679:
5677:
5674:
5672:
5669:
5667:
5664:
5662:
5659:
5657:
5654:
5652:
5649:
5647:
5644:
5642:
5639:
5637:
5634:
5632:
5629:
5628:
5626:
5610:
5609:Étienne Vigée
5607:
5604:
5601:
5598:
5595:
5592:
5591:Julie Le Brun
5589:
5588:
5586:
5582:
5576:
5574:
5570:
5569:
5567:
5563:
5556:
5555:
5551:
5548:
5547:
5543:
5540:
5539:
5535:
5532:
5531:
5527:
5524:
5523:
5519:
5516:
5515:
5511:
5508:
5507:
5503:
5500:
5499:
5495:
5492:
5491:
5487:
5486:
5484:
5480:
5476:
5469:
5464:
5462:
5457:
5455:
5450:
5449:
5446:
5438:
5434:
5429:
5427:
5423:
5420:
5412:
5408:
5405:
5401:
5397:
5393:
5389:
5385:
5381:
5377:
5373:
5369:
5368:
5362:
5358:
5354:
5350:
5349:
5344:
5340:
5339:
5330:
5326:
5325:
5324:
5318:
5317:
5304:
5298:
5283:
5279:
5272:
5256:
5252:
5246:
5238:
5234:
5227:
5212:
5211:
5204:
5189:
5185:
5179:
5164:
5160:
5154:
5139:
5135:
5129:
5121:
5114:
5106:
5104:9780300108729
5100:
5096:
5089:
5081:
5077:
5070:
5062:
5055:
5053:
5044:
5040:
5036:
5029:
5027:
5018:
5011:
5009:
5000:
4993:
4991:
4989:
4987:
4985:
4983:
4981:
4979:
4970:
4968:9780300108729
4964:
4959:
4958:
4949:
4947:
4945:
4938:
4933:
4925:
4918:
4916:
4914:
4912:
4910:
4908:
4899:
4892:
4884:
4883:
4875:
4873:
4864:
4857:
4849:
4842:
4834:
4830:
4823:
4821:
4812:
4805:
4797:
4795:9780140130935
4791:
4787:
4780:
4772:
4765:
4750:
4746:
4740:
4732:
4725:
4709:
4705:
4698:
4696:
4694:
4692:
4690:
4688:
4679:
4675:
4669:
4667:
4665:
4656:
4650:
4646:
4645:
4637:
4629:
4623:
4621:
4619:
4617:
4615:
4613:
4611:
4609:
4607:
4605:
4596:
4592:
4588:
4581:
4573:
4566:
4550:
4546:
4540:
4532:
4526:
4522:
4515:
4513:
4504:
4497:
4495:
4493:
4491:
4489:
4484:
4471:
4465:
4456:
4449:
4443:
4437:
4431:
4424:
4418:
4409:
4402:
4398:
4392:
4383:
4374:
4367:
4363:
4359:
4355:
4349:
4345:
4335:
4334:Women artists
4332:
4330:
4327:
4326:
4317:
4313:
4312:
4305:
4300:
4296:
4292:
4286:
4281:
4277:
4273:
4267:
4262:
4258:
4255:, 1797–1800.
4254:
4253:
4246:
4241:
4237:
4233:
4227:
4222:
4218:
4214:
4213:
4205:
4200:
4196:
4195:
4188:
4183:
4179:
4175:
4174:
4167:
4162:
4158:
4154:
4148:
4143:
4139:
4135:
4131:
4124:
4119:
4118:
4109:
4105:
4099:
4094:
4090:
4086:
4080:
4075:
4071:
4065:
4060:
4056:
4052:
4046:
4041:
4037:
4033:
4027:
4022:
4018:
4014:
4008:
4003:
4002:
3993:
3989:
3983:
3978:
3974:
3968:
3963:
3958:
3953:
3947:
3942:
3938:
3935:, 1791 Rome.
3934:
3928:
3923:
3919:
3912:
3907:
3903:
3899:
3898:
3891:
3886:
3882:
3878:
3876:
3869:
3864:
3860:
3856:
3855:
3848:
3843:
3839:
3835:
3829:
3824:
3820:
3816:
3810:
3805:
3801:
3795:
3790:
3786:
3782:
3776:
3771:
3770:
3760:
3756:
3750:
3745:
3741:
3737:
3736:Self-Portrait
3731:
3726:
3722:
3718:
3717:
3716:Hubert Robert
3710:
3705:
3701:
3700:Louvre Museum
3697:
3696:
3695:Joseph Vernet
3689:
3684:
3680:
3679:
3672:
3667:
3663:
3657:
3652:
3648:
3647:Louvre Museum
3644:
3638:
3633:
3629:
3625:
3619:
3614:
3610:
3606:
3600:
3595:
3591:
3587:
3581:
3576:
3572:
3568:
3567:
3560:
3555:
3551:
3547:
3541:
3536:
3532:
3528:
3527:
3520:
3515:
3509:
3505:
3501:
3500:
3495:
3494:
3487:
3482:
3479:
3475:
3474:
3467:
3462:
3458:
3454:
3453:
3446:
3441:
3437:
3431:
3426:
3422:
3418:
3417:Étienne Vigée
3412:
3407:
3406:
3395:
3392:
3390:
3386:
3382:
3377:
3375:
3371:
3370:
3364:
3362:
3357:
3355:
3351:
3347:
3343:
3342:
3336:
3334:
3330:
3326:
3321:
3320:
3316:
3306:
3304:
3300:
3296:
3295:New York City
3292:
3288:
3284:
3280:
3276:
3275:retrospective
3271:
3269:
3265:
3255:
3253:
3249:
3245:
3240:
3236:
3232:
3228:
3227:M. Désaugiers
3224:
3220:
3213:
3208:
3199:
3196:
3194:
3184:
3181:
3179:
3175:
3171:
3167:
3163:
3159:
3155:
3151:
3147:
3143:
3139:
3135:
3131:
3127:
3123:
3119:
3115:
3110:
3107:
3102:
3097:
3095:
3091:
3085:
3081:
3077:
3075:
3071:
3067:
3063:
3059:
3055:
3051:
3047:
3046:Île-de-France
3043:
3028:
3024:
3022:
3018:
3014:
3009:
3007:
3003:
2999:
2995:
2991:
2987:
2983:
2979:
2975:
2971:
2970:
2965:
2961:
2953:
2949:
2948:
2942:
2933:
2931:
2927:
2923:
2919:
2915:
2910:
2908:
2907:
2902:
2898:
2894:
2890:
2886:
2885:Blonay castle
2882:
2878:
2872:
2867:
2865:
2864:
2859:
2855:
2851:
2847:
2846:
2841:
2837:
2829:
2825:
2821:
2817:
2815:
2811:
2807:
2803:
2798:
2796:
2792:
2791:
2786:
2782:
2778:
2774:
2770:
2766:
2762:
2758:
2754:
2750:
2740:
2736:
2731:
2729:
2725:
2721:
2716:
2714:
2705:
2701:
2697:
2695:
2692:
2688:
2684:
2680:
2676:
2672:
2662:
2659:
2655:
2650:
2646:
2642:
2638:
2634:
2629:
2627:
2623:
2622:Isle of Wight
2619:
2615:
2614:Duc d'Orléans
2611:
2607:
2603:
2599:
2595:
2590:
2588:
2584:
2580:
2576:
2575:Hampton Court
2572:
2568:
2564:
2559:
2556:
2552:
2547:
2545:
2541:
2537:
2536:Mme. Grassini
2533:
2529:
2528:Lady Hertford
2525:
2520:
2518:
2514:
2513:Sarah Siddons
2510:
2509:Benjamin West
2505:
2503:
2502:
2501:Paradise Lost
2497:
2493:
2489:
2485:
2481:
2477:
2473:
2469:
2465:
2464:Maddox Street
2461:
2455:
2453:
2449:
2444:
2435:
2433:
2429:
2425:
2424:
2423:Merveilleuses
2420:
2416:
2412:
2411:
2406:
2402:
2398:
2394:
2390:
2386:
2382:
2368:
2365:, 1807–1809.
2364:
2362:
2357:
2351:
2347:
2346:
2341:
2337:
2335:
2330:
2326:
2321:
2319:
2314:
2312:
2306:
2303:
2299:
2295:
2285:
2282:
2280:
2276:
2272:
2271:M. de Rivière
2268:
2264:
2260:
2256:
2243:
2238:
2236:
2230:
2224:
2220:
2218:
2212:
2208:
2206:
2202:
2198:
2194:
2190:
2186:
2178:
2175:, 1795–1797.
2174:
2170:
2154:
2149:
2147:
2145:
2140:
2136:
2132:
2128:
2124:
2120:
2116:
2112:
2111:Neoclassicism
2107:
2103:
2100:and Princess
2099:
2095:
2090:
2087:
2083:
2078:
2076:
2072:
2068:
2064:
2055:
2051:
2047:
2038:
2036:
2032:
2028:
2024:
2020:
2016:
2012:
2008:
2004:
2000:
1996:
1992:
1991:Cumaean Sibyl
1988:
1984:
1980:
1976:
1972:
1968:
1967:Emma Hamilton
1965:portraits of
1964:
1960:
1956:
1951:
1949:
1945:
1944:Lake Maggiore
1940:
1938:
1934:
1933:
1926:
1921:
1919:
1917:
1912:
1908:
1902:
1899:
1895:
1891:
1885:
1883:
1879:
1875:
1871:
1867:
1863:
1858:
1856:
1852:
1847:
1845:
1841:
1837:
1833:
1829:
1825:
1821:
1817:
1813:
1809:
1805:
1804:Paccherotti's
1801:
1797:
1793:
1788:
1786:
1782:
1778:
1774:
1770:
1764:
1762:
1758:
1754:
1753:Giulio Romano
1750:
1746:
1739:
1737:
1733:
1728:
1722:
1720:
1716:
1711:
1709:
1705:
1700:
1698:
1694:
1691:, passing by
1690:
1686:
1684:
1679:
1675:
1670:
1666:
1662:
1658:
1654:
1650:
1646:
1640:
1638:
1634:
1628:
1626:
1622:
1618:
1614:
1610:
1606:
1600:
1598:
1594:
1590:
1584:
1579:
1577:
1572:
1569:
1566:
1561:
1559:
1555:
1551:
1547:
1543:
1539:
1535:
1531:
1527:
1523:
1519:
1514:
1512:
1508:
1504:
1500:
1496:
1491:
1488:
1484:
1480:
1476:
1472:
1471:Carlo Maratta
1468:
1464:
1460:
1456:
1452:
1448:
1443:
1439:
1435:
1430:
1428:
1426:
1421:
1417:
1413:
1409:
1405:
1401:
1397:
1393:
1392:Lady Hamilton
1389:
1385:
1381:
1376:
1374:
1370:
1366:
1360:
1358:
1353:
1349:
1343:
1341:
1337:
1333:
1329:
1325:
1319:
1317:
1310:
1306:
1301:
1299:
1295:
1291:
1286:
1283:
1282:Saint Peter's
1279:
1275:
1274:Via del Corso
1271:
1266:
1264:
1260:
1256:
1252:
1248:
1246:
1242:
1238:
1234:
1230:
1226:
1222:
1218:
1214:
1211:
1208:
1204:
1201:
1197:
1194:
1190:
1189:
1185:
1181:
1177:
1173:
1168:
1166:
1162:
1158:
1153:
1151:
1147:
1141:
1136:
1133:
1131:
1127:
1122:
1120:
1116:
1112:
1107:
1103:
1102:
1098:
1093:
1089:
1086:
1082:
1078:
1065:
1061:
1059:
1058:Lady Hamilton
1053:
1049:
1046:
1042:
1038:
1033:
1028:
1021:
1016:
1014:
1010:
1009:Les Invalides
1005:
1004:
1003:sans-culottes
999:
995:
992:to visit the
991:
987:
986:Ancien Régime
979:
975:
971:
967:
958:
956:
952:
948:
944:
940:
936:
932:
928:
920:
916:
912:
903:
901:
897:
892:
890:
886:
883:. The child,
882:
878:
874:
873:
864:
857:
853:
852:
847:
838:
836:
832:
831:
826:
818:
817:
812:
805:
801:
800:
795:
786:
784:
780:
776:
771:
769:
768:
763:
759:
754:
753:
748:
744:
739:
737:
732:
728:
724:
723:Salon of 1785
720:
719:M. de Calonne
716:
711:
709:
705:
701:
700:
695:
694:
689:
685:
681:
676:
674:
666:
665:Louvre Museum
662:
658:
649:
647:
643:
639:
634:
632:
631:Mme. de Souza
626:
623:
619:
615:
611:
606:
604:
600:
596:
592:
588:
585:
581:
578:
574:
570:
566:
562:
554:
550:
546:
543:
539:
535:
531:
527:
523:
520:
516:
511:
509:
508:Étienne Vigée
505:
504:Joseph Vernet
501:
497:
493:
488:
486:
482:
478:
474:
468:
451:
448:
440:
437:February 2024
429:
426:
422:
419:
415:
412:
408:
405:
401:
398: –
397:
393:
392:Find sources:
386:
382:
376:
375:
370:This section
368:
364:
359:
358:
350:
348:
344:
341:
337:
333:
329:
325:
320:
318:
314:
310:
306:
302:
301:Ancien Régime
298:
294:
289:
287:
283:
280:or simply as
279:
274:
266:
257:
253:
248:
243:
239:
236:
233:
229:
224:
221:
217:
214:
211:
207:
204:
203:Neoclassicism
200:
197:
193:
188:
185:
183:
182:
178:
176:
175:
171:
169:
168:
164:
163:
162:
156:
152:Paris, France
145:30 March 1842
144:
140:
136:Paris, France
133:16 April 1755
121:
117:
112:
111:
105:
100:
93:
90:
82:
72:
68:
64:
60:
54:
50:
48:
43:This article
41:
32:
31:
19:
5736:Vigée family
5572:
5552:
5544:
5536:
5528:
5520:
5512:
5506:Madame Grand
5504:
5496:
5488:
5474:
5436:
5425:
5392:the original
5380:the original
5366:
5347:
5342:
5322:
5321:
5297:
5287:11 September
5285:. Retrieved
5281:
5271:
5259:. Retrieved
5254:
5245:
5236:
5226:
5214:. Retrieved
5209:
5203:
5191:. Retrieved
5187:
5178:
5166:. Retrieved
5162:
5153:
5141:. Retrieved
5137:
5128:
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4932:
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4881:
4862:
4856:
4847:
4841:
4832:
4828:
4810:
4804:
4785:
4779:
4770:
4764:
4752:. Retrieved
4748:
4739:
4730:
4724:
4712:. Retrieved
4707:
4677:
4643:
4636:
4627:
4586:
4580:
4571:
4565:
4553:. Retrieved
4549:the original
4539:
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4502:
4464:
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4408:
4391:
4382:
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4365:
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4171:
4152:
4104:Lord Bristol
4103:
4084:
4069:
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4031:
4012:
3988:Lord Bristol
3987:
3972:
3951:
3932:
3896:
3873:
3852:
3833:
3814:
3799:
3780:
3759:Getty Center
3754:
3735:
3714:
3694:
3677:
3661:
3642:
3623:
3604:
3585:
3564:
3545:
3526:Madame Grand
3524:
3497:
3491:
3471:
3450:
3435:
3416:
3393:
3388:
3378:
3367:
3365:
3360:
3358:
3354:Maggie Steed
3339:
3337:
3332:
3322:
3318:
3314:
3312:
3272:
3261:
3251:
3216:
3212:Louveciennes
3197:
3190:
3182:
3111:
3108:
3104:
3099:
3094:Hundred Days
3086:
3082:
3078:
3042:Louveciennes
3039:
3025:
3010:
2998:William Tell
2967:
2957:
2944:
2911:
2904:
2874:
2869:
2861:
2843:
2833:
2823:
2806:Burgomeister
2802:Schaffhausen
2799:
2788:
2772:
2746:
2738:
2733:
2727:
2717:
2709:
2703:
2668:
2654:Warwick vase
2645:Lord Warwick
2630:
2591:
2571:Windsor Park
2563:Gilwell Hall
2560:
2548:
2544:Duc de Berri
2521:
2517:John Hoppner
2506:
2499:
2456:
2445:
2441:
2421:
2408:
2400:
2377:
2359:
2343:
2322:
2315:
2307:
2291:
2283:
2251:
2240:
2231:
2228:
2214:
2205:Platon Zubov
2182:
2172:
2151:
2142:
2139:Prince Henry
2091:
2085:
2079:
2059:
2049:
2030:
2026:
2002:
1978:
1952:
1941:
1931:
1928:
1923:
1914:
1903:
1886:
1859:
1848:
1800:square there
1789:
1765:
1749:ducal palace
1741:
1735:
1731:
1726:
1724:
1712:
1707:
1704:Abbé Fontana
1701:
1681:
1676:, Cetri and
1641:
1629:
1601:
1586:
1581:
1573:
1562:
1546:Maria Teresa
1515:
1492:
1431:
1423:
1384:Lord Bristol
1377:
1373:Pope Pius IV
1361:
1355:
1344:
1321:
1312:
1308:
1303:
1293:
1287:
1267:
1243:
1216:
1212:
1209:
1202:
1187:
1180:Pitti palace
1169:
1154:
1143:
1138:
1134:
1123:
1115:Maria Amalia
1100:
1096:
1074:
1055:
1023:
1018:
1001:
983:
969:
946:
942:
924:
914:
899:
896:First Empire
893:
885:Louis Joseph
870:
868:
849:
834:
828:
822:
814:
797:
772:
765:
757:
750:
742:
740:
712:
707:
703:
697:
691:
677:
670:
660:
635:
627:
607:
558:
552:
512:
489:
485:Palais Royal
469: Maisin
463:
443:
434:
424:
417:
410:
403:
391:
379:Please help
374:verification
371:
346:
321:
297:Neoclassical
290:
281:
277:
264:
263:
186:
179:
173:
166:
159:Notable work
147:(1842-03-30)
108:
89:
76:
44:
5636:1842 deaths
5631:1755 births
5603:Louis Vigeé
5120:Paris Match
4714:21 November
4136:Now in the
3933:Mme. Roland
3721:Salon Carré
3387:video game
3346:Dawn French
3258:Exhibitions
3202:Later years
3070:St. Germain
3008:in action.
2881:Lake Geneva
2840:Lake Zurich
2810:Rhine Falls
2777:Honoré Vial
2753:M. Ethinger
2602:Elizabeth I
2598:Knole House
2476:Shakespeare
2296:, visiting
2255:Russian mud
2021:(1794) and
1987:Domenichino
1963:allegorical
1948:Isola Bella
1916:Last Supper
1609:Herculaneum
1499:Mme. Mignot
1467:Monte Mario
1396:Mme. Roland
1348:Simon Denis
1233:Santa Croce
1213:Holy Family
1200:Rembrandt's
1097:The Manger,
990:Romainville
779:Tipu-Sultan
727:Paris Opera
706:(1786) and
688:Netherlands
584:Elizabeth's
569:Domenichino
561:High Rococo
530:old masters
473:Louis Vigée
334:in London,
309:aristocrats
235:Louis Vigée
199:High Rococo
67:subheadings
5625:Categories
5593:(daughter)
5565:Portrayals
5261:1 November
5045:: 120–146.
4835:: 109–134.
4555:26 October
4479:References
4368:and so on.
3385:dating sim
3273:The first
2947:Mont Blanc
2926:Mont Blanc
2687:The Terror
2637:Lord Moira
2480:Chatterton
2219:with Roses
2135:Königsberg
2127:Kahlenberg
1997:'s fourth
1779:, and the
1621:Paëisiello
1576:Brongniart
1459:Monte Cavo
1442:Abbe Maury
1422:notorious
1410:, and the
1207:Carracci's
524:, and the
460:Early life
407:newspapers
326:in Paris,
129:1755-04-16
79:April 2024
63:condensing
5611:(brother)
5599:(husband)
5549:(c. 1790)
5493:(c. 1782)
5482:Paintings
5082:: 93–120.
4595:195744889
4234:, 1797. (
4210:Princess
3875:Anne Pitt
3219:M. Despré
3166:Angoulême
3134:cathedral
3048:near the
2994:Kussnacht
2960:Neuchâtel
2856:, on the
2773:Landamann
2671:Rotterdam
2385:Tuileries
2275:Dolgoruky
1975:Bacchante
1637:Lazzaroni
1633:Solfatara
1550:Francesco
1534:bacchante
1507:Terracina
1475:Genazzano
1420:Bernini's
1380:Miss Pitt
1184:Raphael's
1157:Apennines
1092:Correggio
1081:Porporati
935:Louis XVI
889:Dauphin's
881:Salic law
646:Louis XIV
542:Rembrandt
353:Biography
347:Souvenirs
245:Signature
71:talk page
59:splitting
57:Consider
5605:(father)
5411:LibriVox
5216:28 March
5193:31 March
5168:10 March
5143:10 March
4754:10 March
4676:(1997).
4356:prefers
4323:See also
4293:, 1799.
4274:, 1798.
4215:, 1797.
4176:, 1796.
4155:, 1795.
4106:, 1790,
4087:, 1794.
4053:, 1793.
4034:, 1793.
4015:, 1793.
3990:, 1790,
3920:in Rome.
3900:, 1792.
3879:, 1792.
3857:, 1790.
3836:, 1790.
3817:, 1790.
3783:, 1790.
3757:, 1785.
3738:, 1781.
3698:, 1778.
3626:, 1789.
3607:, 1789.
3588:, 1785.
3569:, 1784.
3548:, 1784.
3529:, 1783.
3419:, 1773.
3305:(2016).
3162:Poitiers
3118:Bordeaux
3058:Prussian
3013:Untersee
2982:Lake Zug
2914:Chamonix
2909:(1807).
2826:, 1779,
2765:Rousseau
2348:, after
2320:family.
2279:Kourakin
2245:—
2221:, 1795.
2156:—
2071:Casanova
2017:(1792),
2013:(1792),
1909:and saw
1878:Po river
1838:and the
1822:and the
1816:Mantegna
1798:and the
1769:cicerone
1649:Adélaïde
1645:Victoire
1615:and the
1589:Lethière
1526:portrait
1503:Voltaire
1455:Tusculum
1259:the Arno
1225:Ghiberti
1193:Titian's
1165:Florence
1101:Nativity
1062:, 1792.
953:—either
917:, 1783.
854:, 1787.
802:, 1783.
775:Mysorean
760:(1789),
729:soprano
710:(1789).
686:and the
684:Brussels
680:Flanders
663:, 1786.
534:Van Dyke
532:such as
219:Children
195:Movement
47:too long
5584:Related
4401:Raphael
4397:David's
3877:as Hebe
3398:Gallery
3248:epitaph
3122:Orléans
3006:eclogue
3002:Gessler
2976:, then
2964:Lucerne
2901:Corinne
2854:Soleure
2728:friends
2594:Matlock
2488:Sundays
2438:England
2415:senator
2405:M. Vien
2294:Prussia
2288:Prussia
2098:Ariadne
2041:Austria
2019:Dresden
1999:Eclogue
1971:Ariadne
1913:famous
1689:Perugia
1678:Foligno
1613:Pompeii
1605:Paestum
1597:Procida
1538:guineas
1487:Ariccia
1473:in the
1350:in the
1324:Girodet
1316:Laocoon
1130:Bologna
1111:Infanta
1045:Jacobin
955:history
747:smiling
565:Raphael
490:In her
421:scholar
340:habitus
269:French:
45:may be
5557:(1796)
5541:(1790)
5533:(1789)
5525:(1788)
5517:(1787)
5509:(1783)
5501:(1783)
5101:
4965:
4848:L'Oeil
4792:
4651:
4593:
4527:
4358:LeBrun
3785:Uffizi
3664:, 1787
3628:Louvre
3303:Ottawa
3250:says "
2986:Goldau
2974:Schwyz
2924:, and
2920:, the
2897:Coppet
2889:Coppet
2850:Glarus
2814:Zürich
2567:Viotti
2496:Milton
2393:Louvre
2350:Titian
2298:Berlin
2193:Paul I
2164:Russia
2131:Prague
2015:Vienna
2011:Venice
2007:memoir
2001:. The
1995:Virgil
1983:sibyls
1834:, the
1830:, the
1794:, the
1759:, the
1755:, the
1747:, the
1697:Arezzo
1593:Ischia
1518:Chiaia
1495:Naples
1483:Albano
1406:, the
1402:, the
1298:Robert
1227:, the
1161:Tuscan
1126:Modena
919:Louvre
644:under
589:, the
538:Rubens
502:, and
492:memoir
423:
416:
409:
402:
394:
324:Louvre
293:Rococo
231:Father
209:Spouse
113:, 1782
5035:Sibyl
4364:uses
4340:Notes
3154:Tours
3138:Blois
3050:Seine
2877:Vevey
2769:Berne
2749:Basel
2720:Denon
2633:Stowe
2492:Routs
2401:Sibyl
2345:Danaë
2197:Elena
2086:Sibyl
2033:as a
2031:Sibyl
2003:Sibyl
1979:Sibyl
1955:Parma
1844:Turin
1808:Milan
1736:Sibyl
1732:Sibyl
1727:Sibyl
1715:Siena
1674:Trevi
1665:Terni
1661:Narni
1565:Capri
1554:Luisa
1438:Malta
1270:Tiber
1085:Parma
1077:Turin
1071:Italy
622:banns
428:JSTOR
414:books
223:Julie
5289:2021
5263:2019
5255:Spin
5218:2024
5195:2020
5170:2018
5145:2018
5099:ISBN
4963:ISBN
4790:ISBN
4756:2018
4716:2014
4649:ISBN
4591:OCLC
4557:2016
4525:ISBN
4423:Hébé
4354:ULAN
3374:Hole
3348:and
3164:and
3090:Elba
2990:Arth
2781:Thun
2757:Biel
2585:and
2579:Bath
2573:and
2530:and
2484:Pope
2482:and
2426:the
2277:and
2261:and
2199:and
2106:Iris
1767:her
1647:and
1595:and
1556:and
1481:and
1479:Nemi
1357:live
1263:Rome
1037:Lyon
567:and
540:and
400:news
142:Died
119:Born
5409:at
4362:RKD
3372:by
3301:in
3293:in
3281:in
3019:at
2978:Zug
2969:sic
2863:sic
2845:sic
2838:in
2195:),
2104:as
2096:as
1985:of
1969:as
1710:".
1359:."
1300::
1210:The
1099:or
467:née
383:by
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