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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.
3184:, 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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1343:, 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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774:, 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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605:, 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
1885:, 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
1121:. 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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876:, 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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1939:, 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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3012:, 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.
2196:, 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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2254:, 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
2406:, 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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1695:, 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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2073:, 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
1110:. 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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2921:. 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.
2226:. 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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2855:], 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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1842:, 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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826:, 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.
3057:. 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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2451:. 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
2455:. 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
1327:, 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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1429:., who hosted many other exiled French aristocrats. Many of these she attended with her close friend the Duchesse de Fleury, on whom she greatly doted. She soon found one of her oldest friends, M. d'Agincourt, who had lent her art pieces from his gallery to copy when she was very young. She had last met him fourteen years previously in Paris, before he departed from there. She also met the
2500:. 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,
637:. 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.
1525:, 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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2636:, 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
2062:. 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
3169:, 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.
1588:. 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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1723:. 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
2993:; 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
1521:, 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
2316:, 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.
1246:, 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
1425:, 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
3041:, 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
2776:, 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
3065:, 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.
2876:. 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
1502:, 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.
3105:, 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
2246:, 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
2372:, 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 -
483:, 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
2719:." 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
1141:, 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.
2570:, 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
808:, 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".
1873:. 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.
864:(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
1857:. 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
2118:, 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
1242:, 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
2130:, 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
2384:. 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!
564:, 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
2837:] 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
2756:, 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.
1861:. 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
1513:, 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
2058:, 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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1509:, 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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891:. 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
2014:(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
727:, 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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1156:. 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
2682:, 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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2558:, 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
1644:, 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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560:, 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
770:, 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
3145:, 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
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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
816:. 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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868:, 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
2704:. 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
3222:, 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
1079:(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
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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
2475:. 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
2977:. 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
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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."
2443:, 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
887:, 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
1117:, 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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2479:, 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
1710:, 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
922:, 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
3899:
2392:. 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
714:. 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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2054:, 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
1640:. 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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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.
3161:. 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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1486:. 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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1072:, who was now a professor in the city's academy. Porporati and his daughter received the artist for five or six days until she resumed her journey southwards to
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1648:, 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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1608:. 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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938:), 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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2678:). 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
2613:, where Vigée Le Brun was mesmerized by the beauty of the countryside and the amiability of its inhabitants, writing later that along with the
1450:, 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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2439:. 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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1323:, 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
1307:, 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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1529:. 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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1853:, 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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1846:, while visiting the Queen, finding that had become increasingly reclusive and very thin, and delegated most of his duties to the Queen.
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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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2601:, 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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1580:, 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.
2066:. Vigée Le Brun praised his composition, though commented that numerous of his works that she witnessed were still not finished.
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4129:. 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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3352:(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
3045:, 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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1549:. 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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1055:. This was widely considered to be one of Vigée Le Brun's greatest works, and was greatly received wherever it was displayed.
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The portrait was exhibited in the Salon of 1807, and was the only portrait the imperial government commissioned from her.
338:), 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
2483:(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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918:. 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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1928:. 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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910:. 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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2955:, 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
759:(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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3345:) 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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2617:(near Naples), these were the only two places where she would happily spend her entire life.
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3226:, with the face being a posthumous portrait of 12-year old Julie. For the local chapel, the
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where she toured the countryside and hiked up local mountains. She resumed her journey over
1319:, In exchange, they asked her for her own palette, which she obliged. She later visited the
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1831:. 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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5377:"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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679:, where seeing the works of the Flemish masters inspired her to try new techniques. Her
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2578:. 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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3274:. 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
1982:, 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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1815:. After departing Padua, she visited Verona, where she spent a week, touring the
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1494:'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
2106:. 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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3501:(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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1315:: 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
2768:. She also met the seven-months pregnant Mme. de Brac, who accompanied her to
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2744:, a local banker, who threw a banquet to welcome the artist. She proceeded to
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5052:. Translated by Robert Erich Wolfe. Zürich: Artemis Verlag. pp. 312–313.
4722:(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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2973:. She visited an inn where she wanted to visit the infamous landslide of
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676:
591:
557:
5063:
Nikolenko, Lada (1967). "The Russian Portraits of Madame Vigée-Lebrun".
4802:. Translated by Constance Borde and Sheila Malovany-Chevallier. Vintage.
4457:
It appears that she is referring to the 6th century church known as the
1760:, touring the city's landmarks with her. She subsequently witnessed the
1576:
She returned to the volcano several times, visiting it with the painter
1093:
had captivated her when she first saw it in the Louvre. She visited the
376: in this section. Unsourced material may be challenged and removed.
3373:
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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
1037:
Germany (1801), and remained a committed royalist throughout her life.
518:
297:
4512:. Vol. 2 (15th ed.). Boston: Cengage Learning. p. 656.
3110:
2554:, where she received a "charming welcome" and met the famous musician
1171:
where she was enamored of several paintings by old masters, including
5380:
3863:
3223:
3195:
3001:
2849:. Seeing a solitary chalet perched atop Mount Wunchenstein [
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2659:
2512:
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Of her visit to Mt. Vesuvius, she wrote in a letter to the architect
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1188:
961:, 1789. (née Adélaïde Harenc de Praël), the illegitimate daughter of
869:
634:
530:
5395:
4852:
Women, Art and the Politics of Identity in Eighteenth-Century Europe
4667:
The Sweetness of Life: A Biography of Elisabeth Louise Vigée Le Brun
3172:
Her journey to Bordeaux was the last time she traveled extensively.
2880:, where she met the famous dissident socialite and woman of letters
2802:
2620:
She visited Mary Elizabeth Grenville, Marchioness of Buckingham, at
1208:
She then visited the town's most beautiful landmarks, including the
351:
280:
Her artistic style is generally considered part of the aftermath of
5421:
5399:
4871:
Les Femmes artistes à l'Académie royale de peinture et de sculpture
4762:. London: Unicorn Press and Lindsay Fine Art Ltd. pp. 460–462.
3150:
3106:
2970:
2902:
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1987:
1951:
1882:
1757:
1691:
Upon her arrival in Florence, she had a memorable meeting with the
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1443:
1418:
writing of it "...whose scandalous expression defies description".
1257:
As she arrived in Rome, she was surprised by how filthy the famous
1153:
1033:
989:
grew, the artist's house on the Rue de-Gros-Chenet was harassed by
710:, was the target of a public scandal after it was exhibited in the
672:
668:
4494:. Paris: Éditions de la Réunion des musées nationaux—Grand Palais.
2333:
2081:
While in Vienna, Vigée Le Brun was commissioned to paint Princess
1966:(1792). Lady Hamilton was similarly the model for Vigée Le Brun's
1676:
which gained the complete admiration of Le Brun. She continued to
1438:, and then Neptune's Grotto. De Ménageot also took her to see the
4389:
3236:
3046:
2994:
2952:
2889:
2282:
2180:. Vigée Le Brun painted Catherine's granddaughters (daughters of
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2007:
1959:
1677:
1666:
1662:
1601:
1593:
1585:
1475:
1172:
1149:
1118:
553:
5050:
Masterpieces from the Collection of the Princes of Liechtenstein
3255:(1774), Salon de la Correspondance (1779, 1781, 1782, 1783) and
812:
As her career blossomed, Vigée Le Brun was granted patronage by
5123:"Élisabeth Vigée Le Brun: Woman Artist in Revolutionary France"
4854:. Burlington, VT: Ashgate Publishing Company. pp. 164–187.
3773:
3688:
3635:
3616:
3291:
2974:
2962:
2885:
2877:
2838:
2824:
2805:, where she enjoyed the hospitality of General Baron de Salis.
2614:
2581:
The artist greatly enjoyed the English countryside, describing
2381:
2286:
2192:, in Grecian tunics with exposed arms. The Empress's favorite,
2119:
2003:
1999:
1995:
1983:
1963:
1685:
1581:
1522:
1506:
1483:
1446:, which "evoked many sad thoughts". The entourage continued to
1181:
1160:
1114:
907:
549:
480:
312:
281:
187:
3348:
Vigée Le Brun is one of only three characters in Joel Gross's
3109:
to occupy her mind with something else. She traveled first to
1106:, while she was in mourning for her recently deceased brother
914:
On 31 May 1783, Vigée Le Brun was received as a member of the
894:
5354:
4574:
Christiane, Weidemann; Larass, Petra; Klier, Melanie (2008).
3142:
3126:
3038:
2865:
2801:. After departing from Schaffhausen, she visited the city of
2764:(magistrate), Mme. de Watteville, and the General Ambassador
2737:
2666:, the prefect of Rotterdam and brother in law to the Empress
2586:
2435:
Upon her arrival at London she lodged at the Brunet hotel in
1971:
1943:
1832:
1796:
1703:
1653:
1649:
1553:
1426:
1258:
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1065:
4375:
Le Brun does not mention this child anywhere in her memoirs.
2864:
She returned to Soleure the next day, and then departed for
1942:
While in Italy, Vigée Le Brun was elected to the Academy in
4342:
3266:
exhibition of Vigée Le Brun's work was held in 1982 at the
3078:
3004:, where she was fortunate to arrive in time to witness the
2978:
2769:
2757:
2069:
After meeting Casanova, she presented herself to the aging
1251:
1247:
1124:
She visited the church of Sant'Agnese, of which she wrote:
1025:
762:
In 1788, Vigée Le Brun was impressed with the faces of the
460:; 1728–1800), a hairdresser from a peasant background, and
5346:"Artcyclopedia entry: Marie Louise Élisabeth Vigée-Lebrun"
2026:, the most elevated category in the Académie's hierarchy.
1994:
was Vigée Le Brun's favorite work; it is mentioned in her
5422:"Elizabeth Vigée-Lebrun's Portrait of Giovanni Paisiello"
4350:
3125:
and the ruins surrounding the city. She then traveled to
2966:
2957:
2884:, who was exiled by the Napoleonic regime. She stayed at
2851:
2833:
829:
4887:
Adélaïde Labille-Guiard: Artist in the Age of Revolution
4561:
Marie-Antoinette and her children, by Mme. Vigée Le Brun
3905:
Copy of her 1790 self-portrait, originally done for the
3259:(1783, 1785, 1787, 1789, 1791, 1798, 1802, 1817, 1824).
2328:
2137:
She was completely enamored of the painting, and wrote:
5267:"Ambition: A Minuet in Power's extravagant aspirations"
4760:
The Wallace Collection's Pictures: A Complete Catalogue
4619:. Translated by Siân Evans. London: Camden Press. 1989.
4510:
Gardner's Art through the Ages: The Western Perspective
3278:
in Paris (2015—2016). It was subsequently shown at the
2605:(the future King Louis Philippe). She then visited the
2493:, but was surprised to find that it had been cut down.
1935:
and resided on one of the two islands in the lake, the
1228:, where she entered the cloister and was enthralled by
691:. Dutch and Flemish influences have also been noted in
5365:"Works of art by Vigée Le Brun in British Collections"
2917:. The journey was perilous. The entourage visited the
2892:, a character from Mme. de Staël's most recent novel,
2607:
Margravine of Brandenburg-Ansbach, the Baroness Craven
2542:
was abrogated, and hostilities between France and the
5389:"Vigée Le Brun: Woman Artist in Revolutionary France"
5222:"How a Queen Lost Her Heart Before She Lost Her Head"
4573:
3495:." One of three Vigée Le Brun portraits, including a
2819:. exhibited in 1783 at the Salon de la Correspondance
2362:
1454:. She also made frequent excursions to the summit of
5316:, Translated by Lionel Strachey, Copyright 1903, by
5006:
The Arts of France from François Ier to Napoléon Ier
3175:
1998:
more than any other work. She displayed it while in
730:
In 1787, she caused a minor public scandal when her
601:, a painter, art dealer and relation of the painter
4775:
The Great Nation: France from Louis XIV to Napoleon
2566:on the outskirts of London before leaving to visit
930:, Vigée Le Brun submitted an allegorical painting,
534:correct baptismal order would be Élisabeth Louise.
4943:
3535:Marie-Gabrielle de Gramont, Duchesse de Caderousse
3327:In the episode "The Portrait" from the BBC series
2985:, intending to visit the spot where the legendary
1803:, praising the church's frescos that were made by
1167:and the room of the Niobids. She then visited the
3019:
2222:Bernard Nigris, secretary to the Director of the
1163:, where she saw the widely-celebrated and famous
273:, was a French painter who mostly specialized in
5611:
2653:
2459:, where she was greatly affected by the tomb of
517:; the artist took notes and copied the works of
265:; 16 April 1755 – 30 March 1842), also known as
176:Life Study of Lady Hamilton as the Cumaean Sybil
3987:
3302:The 2014 docudrama made for French television,
3297:
2122:. She also visited Dresden on her way, and the
1616:, and it became one of her favorite landmarks.
734:was exhibited at that year's Salon showing her
5543:Portrait of Countess Yekaterina von Engelhardt
4490:Baillio, Joseph; Salmon, Xavier, eds. (2015).
4183:Ekaterina Feodorovna Baryatinskaya-Dolgorukova
4103:
3791:, 1790. Private Collection. Painted in Naples.
3391:
3312:An episode of the 1980 BBC television series,
3180:The artist formed an intimate friendship with
2841:. The artist then continued to the village of
2711:, to paint a portrait of the Emperor's sister
2593:. She returned to London, where she found the
464:, a portraitist, pastellist and member of the
334:, she published her memoirs in three volumes (
292:society by serving as the portrait painter to
5562:The Interior of an Atelier of a Woman Painter
5448:
4489:
4284:Museum of Fine Arts (St. Petersburg, Florida)
3755:
3316:, presented by the art historian and author,
3308:The Fabulous Life of Elisabeth Vigée Le Brun.
3304:Le fabuleux destin d'Elisabeth Vigée Le Brun,
2939:, painted during her travels to Switzerland.
2813:Innocence takes refuge in the arms of Justice
2380:for the first time, from a window inside the
2126:fortress, where she made the acquaintance of
1779:While in Venice, she visited the churches of
1517:two days after her arrival. Soon afterwards,
1474:among others. One of these excursions around
1442:, and the ancient ruins of the Roman town of
1261:was. She headed to the French Academy in the
277:, in the late 18th and early 19th centuries.
58:. Please discuss this issue on the article's
5527:Portrait of Countess Yekaterina Skavronskaya
5148:"Elisabeth Louise Vigée Le Brun (1755–1842)"
5043:
5041:
4686:
4684:
4682:
4680:
4678:
4676:
3333:(1999) written by Peter Learmouth, starring
2760:, where she was received by the wife of the
2535:, the Duc de Serant and the Duc de Rivière.
2312:During her stay in Berlin, she met with the
2302:, where the artist enjoyed the countryside.
5462:
5302:
4999:
4997:
4757:
2236:Souvenirs De Madame Vigée Le Brun, Page 213
1950:in Rome (1790). Vigée Le Brun also painted
1918:She also saw various cartoons of Raphael's
1795:last concert. She soon departed Venice for
1727:had always been one of my favourite works.
916:Académie royale de peinture et de sculpture
895:Académie royale de peinture et de sculpture
753:dismissed Vigée Le Brun as narcissistic in
5455:
5441:
5419:
5219:
5199:Anita Brookner on Art: 100 Great Paintings
5008:. New York: Wildenstein. pp. 325–329.
4981:
4979:
4977:
4975:
4973:
4971:
4969:
4967:
4937:
4935:
4933:
4906:
4904:
4902:
4900:
4898:
4896:
4863:
4861:
4657:
4655:
4653:
3491:of Louis XV of France and a victim of the
3446:Musée de l'Histoire de France (Versailles)
2888:with Madame de Staël, whom she painted as
2463:, and visited the sarcophagi of the poets
1970:(1792), which was inspired by the painted
1702:After departing Florence she travelled to
1281:later on to see Raphael's much criticized
1250:. She soon left Florence and departed for
1159:While in Florence, she visited the famous
685:(1782) was a "free imitation" of Rubens's
91:
5312:Memoirs of Madame Élisabeth Vigée Le Brun
5264:
5240:"Hole Reveal New Album Art and Tracklist"
5106:
5062:
5056:
5047:
5038:
5028:Aurora: The Journal of the History of Art
5017:
5015:
4884:
4843:
4818:Aurora: The Journal of the History of Art
4811:
4809:
4673:
4611:
4609:
4607:
4605:
4603:
4601:
4599:
4597:
4595:
4593:
4503:
4501:
3634:, actrice de la Comédie italienne, 1786.
2538:Shortly after her arrival in London, the
1669:. In the latter town she found Raphael's
1212:, where she saw the Gates of Paradise by
436:Learn how and when to remove this message
5330:
4994:
4797:
4717:
4485:
4483:
4481:
4479:
4477:
4435:Not to be mistaken with the more famous
4142:Princess Ekaterina Nikolaevna Menshikova
3770:Self-portrait, painting Marie Antoinette
3194:
2928:
2807:
2687:
2531:(future King Charles X) and his son the
2441:M. François-Auguste Parseval-Grandmaison
2343:
2327:
2198:
2156:
2033:
1881:under the command of the rising general
1859:storming of the Tuileries in 10th August
1254:, arriving there in late November 1789.
1039:
1000:. Later in her life, in a letter to the
953:
898:
833:
798:
781:
644:
536:
296:. She enjoyed the patronage of European
5292:"The Portrait Gallery: Madame du Barry"
5284:
5003:
4985:
4964:
4930:
4919:
4910:
4893:
4867:
4858:
4849:
4834:
4661:
4650:
4507:
1764:. During the celebrations, she met the
1762:marriage of Venice and the Sea ceremony
5612:
5420:Rice, John A.; Heartz, Daniel (2014).
5086:. Yale University Press. p. 201.
5021:
5012:
4815:
4806:
4777:. London: Penguin Books. p. 364.
4617:The Memoirs of Elisabeth Vigée-Le Brun
4590:
4534:"National Museum of Women in the Arts"
4498:
3368:Élisabeth Vigée Le Brun is a dateable
3053:in the final stages of the war of the
2924:
2731:
2589:in Kent, which had once been owned by
1220:, and Michelangelo's mausoleum at the
830:Marie Antoinette and her Children 1787
5436:
5356:Dictionary of Pastellists before 1800
4772:
4690:
4636:. Taylor & Francis. p. 678.
4474:
4341:There are several variant spellings:
4186:, 1796. Yamazaki Mazak Museum of Art.
3322:Self-portrait with her Daughter, 1789
3063:the pumping machine at Marly aqueduct
2831:, then visited Rappercheld [
2224:Imperial Theaters of Saint Petersburg
1838:In Turin she referred herself to the
1076:, where she met the Comte de Flavigny
949:
747:Self-portrait with her Daughter Julie
732:Self-portrait with her Daughter Julie
650:Self-portrait with her Daughter Julie
454:
260:
5535:Portrait of Princess Maria Christina
5352:
4950:. New Haven: Yale University Press.
4889:. Los Angeles: J. Paul Getty Museum.
4720:The National Gallery Companion Guide
4629:
4265:National Museum of Women in the Arts
3350:Marie Antoinette: The Color of Flesh
2793:where she was received by the local
2314:General Plenipotentiary Bournonville
1752:and numerous other local landmarks.
667:In 1781, she and her husband toured
625:Her husband's great-great-uncle was
586:), the Marquis de Choiseul, and the
506:'s art gallery; seeing the works of
374:adding citations to reliable sources
345:
18:
5173:"Arnaud XAINTE – Producer/Director"
5081:
4941:
4758:Duffy, Stephen; Hedley, Jo (2004).
4697:Grove Art Online. Oxford Art Online
4633:Concise Dictionary of Women Artists
4558:
4423:He was also Grand Commander of the
4162:Anna Ivanovna Baryatinskaya Tolstoy
4121:submitted for her admission to the
3380:published by Joy Manufacturing Co.
3276:Galeries nationales du Grand Palais
2083:Maria Josepha Hermengilde Esterházy
1265:where the director of the academy,
777:
575:favorites), the Comtesse de Brionne
16:French portrait painter (1755–1842)
13:
5655:19th-century French letter writers
5630:18th-century French letter writers
5337:The Memoirs of Madame Vigée Lebrun
5265:Valentine, Rebekah (9 July 2020).
5220:Genzlinger, Neil (11 April 2007).
4926:Madame Guilotine, Madame Perregaux
4117:Self-portrait of herself painting
4040:Princess Karoline of Liechtenstein
4002:La Comtesse Maria Theresia Bucquoi
3926:Fine Arts Museums of San Francisco
2363:Return to France and stay at Paris
2356:Musée d'Art et d'Histoire (Geneva)
2294:where her stay was uncomfortable.
1331:, who was a gracious host to her.
1137:, the Palazzo Bonfigliola and the
819:Marie-Antoinette in a Muslin Dress
14:
5736:
5665:19th-century French women artists
5645:18th-century French women artists
5511:Portrait of Muhammad Dervish Khan
5503:Marie Antoinette and Her Children
5428:. Ann Arbor: Steglein Publishing.
5324:
5026:and its Virgilian Connotations".
4990:. Fort Worth: Kimbell Art Museum.
4915:. Chicago: University of Chicago.
4693:"Vigée Le Brun, Elisabeth-Louise"
4567:
3235:near her old home. Her tombstone
3176:Friendship with Antoine Jean-Gros
2388:greatly complimenting her famous
2289:after an exhausting journey. The
2039:Princess von Esterhazy as Ariadne
1844:her husband, the King of Sardinia
1490:, widow of the painter Denis and
861:Marie Antoinette and her Children
840:Marie Antoinette and her Children
640:
5403:
5396:Works by Élisabeth Vigée Le Brun
4669:. London: André Deutsch Limited.
4576:50 Women Artists You Should Know
4291:
4272:
4253:
4232:
4213:
4191:
4174:
4153:
4134:
4123:Saint Petersburg Academy of Arts
4110:
4085:
4066:
4051:
4032:
4013:
3994:
3969:
3954:
3933:
3914:
3898:
3877:
3855:
3834:
3815:
3796:
3781:
3762:
3736:
3717:
3696:
3675:
3658:
3643:
3624:
3605:
3586:
3567:
3546:
3527:
3506:
3473:
3453:
3432:
3417:
3398:
2693:Juno Borrowing the Belt of Venus
2147:Élisabeth Vigée Le Brun, Memoirs
1658:Monte Somma across the Apennines
350:
262:[elizabɛtlwizviʒeləbʁœ̃]
239:
38:to read and navigate comfortably
23:
5258:
5232:
5213:
5190:
5165:
5140:
5115:
5100:
5075:
4878:
4828:
4791:
4766:
4751:
4726:
4711:
4451:
4442:
4429:
4417:
4410:This portrait depicted Anne as
4404:
4395:
4378:
4369:
4303:, former King of Poland, 1796.
4300:Stanislaus Augustus Poniatowski
3613:Self-portrait with her Daughter
3081:, after which he initiated the
2674:, who had been executed during
2624:. She also went to the home of
2104:Cornelia, mother of the Gracchi
1684:and hen on to Lise, Combuccia,
1511:Countess Catherine Skavronskaïa
1152:countryside, and from there to
594:(the future King Louis XVIII).
361:needs additional citations for
40:. When this tag was added, its
5635:18th-century French memoirists
5340:– via Project Gutenberg.
5332:Vigée-Lebrun, Louise-Elisabeth
4988:Elisabeth Louise Vigée Le Brun
4734:"Self-Portrait in a Straw Hat"
4623:
4552:
4526:
4508:Kleiner, Fred S., ed. (2015).
4492:Élisabeth Louise Vigée Le Brun
4360:
4335:
4261:Anna Beloselskaya-Belozerskaya
3789:Emma, Lady Hamilton as Ariadne
3708:, 1788. Exhibited in the 1779
3257:Salon of the Académie in Paris
3246:
3243:" (Here, at last, I rest...).
3218:, the painter and antiquarian
3190:
3141:. Afterwards, she traveled to
3020:Return to Paris and later life
2041:, 1793. Princely Collections,
1978:. The painting represents the
1813:church of St. John the Baptist
267:Louise Élisabeth Vigée Le Brun
254:Élisabeth Louise Vigée Le Brun
1:
5391:. Metropolitan Museum of Art.
5318:Doubleday, Page & Company
5004:Baillio, Joseph, ed. (2005).
4467:
4437:Charles-Maurice de Talleyrand
4246:Barber Institute of Fine Arts
4059:Countess Siemontkowsky-Bystry
3823:Luisa Maria Amelia di Borbone
3467:Musée de l'Histoire de France
3465:, sister of Louis XVI. 1782,
2981:. Vigée Le Brun then climbed
2961:] and the market town of
2817:Musée des Beaux-Arts d'Angers
2654:Return to France from England
2018:, Vigée Le Brun regarded her
2016:Peace Bringing Back Abundance
1708:Academy of Fine Arts of Parma
932:Peace Bringing Back Abundance
904:Peace bringing back abundance
448:
5675:French neoclassical painters
5660:19th-century French painters
5640:18th-century French painters
5487:Marie Antoinette with a Rose
5479:Self-Portrait in a Straw Hat
5424:. In Wilcox, Beverly (ed.).
5309:University of Pennsylvania,
5048:Baumstark, Reinhold (1981).
4800:Extracts from The Second Sex
4798:Beauvoir, Simone de (2009).
4563:. Paris: L'Oeil. p. 90.
4006:Minneapolis Institute of Art
3988:Portraits painted in Austria
3886:Emma Hamilton as a Bacchante
3555:Charles-Alexandre de Calonne
3425:Self-portrait in a Straw Hat
3298:Portrayal in popular culture
2941:Minneapolis institute of Art
2740:, where she was received by
2174:Stanisław August Poniatowski
2162:Alexandra and Elena Pavlovna
1144:Soon after, she crossed the
1021:Versailles to the Tuilleries
936:La Paix ramenant l'Abondance
788:Marie Antoinette with a Rose
682:Self-portrait in a Straw Hat
629:, the first director of the
599:Jean-Baptiste-Pierre Le Brun
542:Self-portrait at age sixteen
341:
284:with elements of an adopted
202:Jean-Baptiste-Pierre Le Brun
170:Self-portrait in a Straw Hat
156:Marie Antoinette with a rose
99:Self-portrait in a Straw Hat
7:
5700:French women pastel artists
5670:19th-century women painters
5650:18th-century women painters
5586:Jean-Baptiste-Pierre Lebrun
5402:(public domain audiobooks)
5111:(in French). No. 3461.
4311:
4146:National Gallery of Armenia
4104:Portraits painted in Russia
4061:, 1793. Private collection.
3670:, 1788. Private collection.
3539:Nelson-Atkins Museum of Art
3392:Portraits painted in France
3378:Ambition: A Minuet in Power
3320:, featured Vigée Le Brun's
3113:, where she resided in the
2782:. She went on to visit the
2695:, 1781. Private Collection.
889:The Apotheosis of the Queen
215:2nd child who died at birth
50:content into sub-articles,
10:
5741:
5320:, Published, October, 1903
5209:– via www.bbc.co.uk.
5152:National Gallery of Canada
5127:Metropolitan Museum of Art
4167:National Gallery of Canada
3756:Portraits painted in Italy
3598:Metropolitan Museum of Art
3520:Metropolitan Museum of Art
3499:that she finished in 1805.
3427:, National Gallery, London
3386:
3372:in the historically-based
3288:National Gallery of Canada
3280:Metropolitan Museum of Art
2797:, who took her to see the
2662:, where she first visited
2487:was said to have composed
2426:
2402:; then 82 years old and a
2276:
2091:Karoline von Liechtenstein
2029:
1879:French troops, campaigning
1766:Prince Augustus of England
1405:Santa Maria della Vittoria
1401:San Paolo la Fuori le Mura
1053:Metropolitan Museum of Art
824:Marie-Antoinette en gaulle
805:Marie-Antoinette en gaulle
325:Metropolitan Museum of Art
163:Marie Antoinette en gaulle
5572:
5553:
5470:
5415:Modern Arts Notes Podcast
4911:Sheriff, Mary D. (1996).
4885:Auricchio, Laura (2009).
4874:. Paris: Charavay Frères.
4699:. Oxford University Press
4097:National Trust collection
4074:Pélagie Sapieżyna-Potocka
3981:National Trust collection
3843:Maria Cristina of Bourbon
3233:Cimetière de Louveciennes
3199:Vigée Le Brun's grave in
2905:, intending to visit the
2352:as Corinne at Cape Miseno
2152:
1817:ruins of the Amphitheatre
1393:San Lorenzo Fuori le Mura
1192:Portrait of a Philosopher
822:(1783), sometimes called
568:, Comte Pierre Chouvaloff
385:"Élisabeth Vigée Le Brun"
247:
238:
233:
229:
219:
207:
197:
183:
146:
130:
107:
90:
83:
5685:French portrait painters
5367:. Art UK. Archived from
5303:Literature and resources
4986:Baillio, Joseph (1982).
4868:Fidière, Octave (1885).
4718:Langmuir, Erika (1997).
4328:
4021:Theresa, Countess Kinsky
3341:, Madame Vigée Le Brun (
3241:Ici, enfin, je repose...
3159:Comte de Tournon-Simiane
3137:, residence of the late
3043:Pavillon de Louveciennes
3000:The artist then visited
2989:was said to have killed
2672:Alexandre de Beauharnais
2668:Joséphine de Beauharnais
1896:Santa Maria delle Grazie
1825:Church of Sant'Anastasia
1505:She initially lodged in
1059:
772:portrait of Dervish Khan
5690:French women memoirists
5464:Élisabeth Vigée Le Brun
4355:Elisabeth Vigée-Le Brun
4206:Baltimore Museum of Art
4201:Ana Gruzinsky Galitzine
3946:Jacquemart-André museum
3744:Vicomtesse de Vaudreuil
3051:advancing towards Paris
2664:François de Beauharnais
2523:and the famous actress
2318:the Academy of Painting
1890:issued on 3 June 1793.
1807:, and also visited the
1801:Church of the Eremitani
1414:Ecstasy of Saint Teresa
1224:. She also visited the
920:Adélaïde Labille-Guiard
588:Chancellor de Aguesseau
582:(future mother of King
85:Élisabeth Vigée Le Brun
5065:Gazette des Beaux-Arts
4318:Marie-Victoire Lemoine
4305:Versailles Collection.
4280:Julie Le Brun as Flora
3891:Lady Lever Art Gallery
3444:, 1782 oil on canvas.
3410:Saint Louis Art Museum
3203:
3129:where she visited the
3092:
2944:
2862:
2820:
2726:
2696:
2638:Sir William Hamilton's
2399:Premier peintre du Roi
2359:
2341:
2239:
2215:
2169:
2150:
2046:
2043:House of Liechtenstein
1916:
1781:Santi Giovanni e Paolo
1729:
1574:
1309:
1296:
1131:
1102:and Duchess of Parma,
1095:church of San Giovanni
1064:The artist arrived in
1056:
1011:
977:. While travelling to
970:
965:, banker to Louis XV.
911:
858:Vigée Le Brun's later
855:
809:
796:
657:
545:
485:Gabriel François Doyen
112:Élisabeth Louise Vigée
5695:French women painters
5680:French pastel artists
5519:Comtesse de la Châtre
4773:Jones, Colin (2003).
4691:Nicholson, Kathleen.
3964:, Private collection.
3941:Countess Skavronskaia
3907:accademia di St. Luca
3667:Muhammad Dervish Khan
3594:Comtesse de La Châtre
3253:Académie de Saint-Luc
3198:
3135:Château de Chanteloup
3087:
2932:
2857:
2811:
2752:to visit the home of
2721:
2691:
2670:(brother to the late
2396:, who was the former
2347:
2331:
2228:
2202:
2160:
2139:
2037:
1948:Accademia di San Luca
1926:Biblioteca Ambrosiana
1911:
1887:Assemblée législative
1821:San Giorgio in Braida
1746:Church of Sant'Andrea
1712:
1569:
1389:San Pietro in Vincoli
1300:
1291:
1226:Santissima Annunziata
1218:Church of San Lorenzo
1126:
1113:She first arrived in
1043:
1006:
957:
902:
883:Later on, during the
837:
802:
785:
648:
607:Saint-Eustache church
562:Académie de Saint-Luc
540:
466:Académie de Saint-Luc
319:in Saint Petersburg,
5705:French women writers
5371:on 11 November 2018.
4839:(310): 53–60, 90–91.
4630:Gaze, Delia (2001).
4439:, Napoleon's patron.
4078:Royal Castle, Warsaw
4044:Liechtenstein Museum
3848:Museo di Capodimonte
3827:Museo di Capodimonte
3808:Museo di Capodimonte
3804:Francesco di Borbone
3441:Duchesse de Polignac
3370:non-player character
3147:Marmoutier monastery
3115:Château de Méréville
2969:, where she crossed
2934:Lake of Challes and
2907:Sallanches mountains
2774:Lauterbrunnen Valley
2658:Her ship arrived in
2461:Mary, Queen of Scots
2206:Elizabeth Alexeievna
2133:Madonna di San Sisto
1785:Church of Saint Mark
1519:Sir William Hamilton
1321:Flavian Amphitheater
1317:Jean Germain Drouais
1185:portrait of Paul III
1049:as the Cumaean Sybil
1004:, the artist wrote:
940:category of painting
866:Palace of Versailles
845:Palace of Versailles
793:Palace of Versailles
693:The Comte d'Espagnac
688:Le Chapeau de Paille
504:Palais de Luxembourg
489:Jean-Baptiste Greuze
370:improve this article
5715:Painters from Paris
5383:on 5 December 1998.
5177:francecanadaculture
4578:. Munich: Prestel.
4459:Temple of Clitumnus
4025:Norton Simon Museum
3632:Madame Molé-Reymond
3579:Musée des Augustins
3497:posthumous portrait
3462:Élisabeth of France
3314:100 Great Paintings
3131:Château de Chambord
3006:Shepherd's festival
2951:, and then visited
2925:Switzerland in 1808
2895:Corinne ou l'Italie
2732:Switzerland in 1807
2421:Adèle de Bellegarde
2262:and the princesses
2248:Emperor Alexander I
2178:Catherine the Great
2112:Catherine the Great
1900:Leonardo Da Vinci's
1883:Napoleon Buonaparte
1863:Moncalieri hillside
1436:Temple of the Sibyl
1210:Florence Baptistery
1177:Madonna della Sedia
1148:and arrived in the
852:Bourbon restoration
720:Mlle. de de Arnould
704:minister of finance
662:Jeanne Lucie Louise
42:readable prose size
5359:(Online ed.).
5082:May, Gita (2005).
4942:May, Gita (2005).
4225:Maria Razumovskaya
4221:Princess Golitsyna
3729:Kimbell Art Museum
3575:Baronne de Crussol
3488:Maîtresse-en-titre
3268:Kimbell Art Museum
3228:Comtesse de Genlis
3204:
3149:. She then passed
2945:
2911:Aiguille du Goûter
2821:
2772:, and then to the
2713:Caroline Bonaparte
2697:
2599:Duc de Montpensier
2595:Comte de Vaudreuil
2417:Duchesse de Fleury
2378:Napoleon Bonaparte
2360:
2342:
2321:sought out by the
2307:Prince Ferdinand's
2216:
2190:Alexandra Pavlovna
2170:
2047:
1931:She later visited
1865:, overlooking the
1855:Mme. de Gourbillon
1829:Church of San Zeno
1809:Basilica del Santo
1770:Princess de Monaco
1672:Madonna di Foligno
1440:Villa Aldobrandini
1423:Duchesse de Fleury
1230:Andrea del Sarto's
1057:
971:
967:Wallace Collection
950:Flight from France
912:
856:
810:
797:
751:Simone de Beauvoir
725:Comte de Vaudreuil
658:
580:Duchess of Orléans
546:
5607:
5606:
5271:GamesIndustry.biz
4663:Goodden, Angelica
4643:978-1-57958-335-4
4559:Baillio, Joseph.
4519:978-1-305-64505-9
4392:before his death.
3485:, 1782. The last
3358:Nobody's Daughter
3339:Jennifer Saunders
3330:Let Them Eat Cake
3272:Fort Worth, Texas
3212:Louis Aimé-Martin
3182:Antoine-Jean Gros
3167:temple of Solomon
3103:Duchesse de Berri
2702:Angelica Catalani
2576:Caroline Herschel
2457:Westminster Abbey
2370:Comédie-Française
2323:Duke of Brunswick
1851:Comte de Provence
1840:Queen of Sardinia
1646:Civita Castellana
1606:museum at Portici
1325:Angelica Kaufmann
1234:Madonna del Sacco
1139:Palazzo Sampierei
1108:Emperor Joseph II
1083:, whose painting
1030:Beauvoisin bridge
1002:Princess Kourakin
987:French Revolution
983:Maréchal de Ségur
592:Comte de Provence
508:Peter Paul Rubens
446:
445:
438:
420:
306:old Dutch masters
275:portrait painting
251:
250:
77:
76:
44:was 15,106 words.
5732:
5457:
5450:
5443:
5434:
5433:
5429:
5407:
5406:
5392:
5384:
5379:. Archived from
5372:
5360:
5353:Jeffares, Neil.
5349:
5341:
5296:
5295:
5294:. 15 April 2016.
5288:
5282:
5281:
5279:
5277:
5262:
5256:
5255:
5253:
5251:
5236:
5230:
5229:
5217:
5211:
5210:
5208:
5206:
5194:
5188:
5187:
5185:
5183:
5169:
5163:
5162:
5160:
5158:
5144:
5138:
5137:
5135:
5133:
5119:
5113:
5112:
5104:
5098:
5097:
5079:
5073:
5072:
5060:
5054:
5053:
5045:
5036:
5035:
5019:
5010:
5009:
5001:
4992:
4991:
4983:
4962:
4961:
4949:
4939:
4928:
4923:
4917:
4916:
4908:
4891:
4890:
4882:
4876:
4875:
4865:
4856:
4855:
4847:
4841:
4840:
4832:
4826:
4825:
4813:
4804:
4803:
4795:
4789:
4788:
4770:
4764:
4763:
4755:
4749:
4748:
4746:
4744:
4738:National Gallery
4730:
4724:
4723:
4715:
4709:
4708:
4706:
4704:
4688:
4671:
4670:
4659:
4648:
4647:
4627:
4621:
4620:
4613:
4588:
4587:
4571:
4565:
4564:
4556:
4550:
4549:
4547:
4545:
4536:. Archived from
4530:
4524:
4523:
4505:
4496:
4495:
4487:
4461:
4455:
4449:
4446:
4440:
4433:
4427:
4425:Knights of Malta
4421:
4415:
4408:
4402:
4399:
4393:
4382:
4376:
4373:
4367:
4364:
4358:
4339:
4295:
4276:
4257:
4241:Varvara Golovina
4236:
4217:
4195:
4178:
4157:
4138:
4127:Hermitage Museum
4114:
4089:
4070:
4055:
4036:
4017:
3998:
3973:
3962:Countess Potocka
3958:
3937:
3918:
3902:
3881:
3870:Hermitage Museum
3859:
3838:
3819:
3800:
3785:
3766:
3740:
3721:
3712:. Louvre Museum.
3700:
3679:
3662:
3647:
3628:
3609:
3590:
3571:
3560:Royal Collection
3550:
3531:
3510:
3477:
3457:
3436:
3421:
3402:
3210:, the writer M.
3049:troops who were
3010:Unspunnen castle
2825:island of Ufenau
2750:Île Saint-Pierre
2572:William Herschel
2540:Treaty of Amiens
2437:Leicester Square
2408:Directory period
2386:Lucien Bonaparte
2291:Queen of Prussia
2256:Count Stroganoff
2237:
2212:Hermitage Museum
2166:Hermitage Museum
2148:
2024:history painting
2012:Saint Petersburg
1962:(1790) and as a
1921:School of Athens
1407:, where she saw
1397:St. John Lateran
1377:Countess Potocka
1354:The Rome Academy
1341:Piazza di Spagna
1277:She climbed the
1240:Palazzo Altoviti
1165:Venus de' Medici
959:Madame Perregaux
814:Marie Antoinette
778:Marie Antoinette
741:Mémoires secrets
697:Madame Perregaux
618:de Arenberg and
609:, with only two
571:(one of Empress
566:the Comte Orloff
515:Marquis de Levis
470:Rue Saint-Honoré
459:
441:
434:
430:
427:
421:
419:
378:
354:
346:
321:National Gallery
317:Hermitage Museum
294:Marie Antoinette
264:
259:
243:
149:
137:
121:
119:
95:
81:
80:
72:
69:
63:
27:
26:
19:
5740:
5739:
5735:
5734:
5733:
5731:
5730:
5729:
5720:Rococo painters
5610:
5609:
5608:
5603:
5568:
5564: (Lemoine)
5549:
5466:
5461:
5404:
5387:
5375:
5363:
5344:
5327:
5305:
5300:
5299:
5290:
5289:
5285:
5275:
5273:
5263:
5259:
5249:
5247:
5246:. 25 March 2010
5238:
5237:
5233:
5218:
5214:
5204:
5202:
5196:
5195:
5191:
5181:
5179:
5171:
5170:
5166:
5156:
5154:
5146:
5145:
5141:
5131:
5129:
5121:
5120:
5116:
5105:
5101:
5094:
5080:
5076:
5061:
5057:
5046:
5039:
5020:
5013:
5002:
4995:
4984:
4965:
4958:
4940:
4931:
4924:
4920:
4909:
4894:
4883:
4879:
4866:
4859:
4848:
4844:
4833:
4829:
4814:
4807:
4796:
4792:
4785:
4771:
4767:
4756:
4752:
4742:
4740:
4732:
4731:
4727:
4716:
4712:
4702:
4700:
4689:
4674:
4660:
4651:
4644:
4628:
4624:
4615:
4614:
4591:
4572:
4568:
4557:
4553:
4543:
4541:
4540:on 2 April 2017
4532:
4531:
4527:
4520:
4506:
4499:
4488:
4475:
4470:
4465:
4464:
4456:
4452:
4447:
4443:
4434:
4430:
4422:
4418:
4409:
4405:
4400:
4396:
4383:
4379:
4374:
4370:
4365:
4361:
4340:
4336:
4331:
4314:
4307:
4296:
4287:
4277:
4268:
4258:
4249:
4237:
4228:
4218:
4209:
4196:
4187:
4179:
4170:
4158:
4149:
4139:
4130:
4119:Louise of Baden
4115:
4106:
4099:
4090:
4081:
4071:
4062:
4056:
4047:
4037:
4028:
4018:
4009:
3999:
3990:
3983:
3974:
3965:
3959:
3950:
3949:
3938:
3929:
3919:
3910:
3903:
3894:
3882:
3873:
3860:
3851:
3839:
3830:
3820:
3811:
3801:
3792:
3786:
3777:
3767:
3758:
3751:
3741:
3732:
3722:
3713:
3701:
3692:
3680:
3671:
3663:
3654:
3648:
3639:
3629:
3620:
3610:
3601:
3591:
3582:
3572:
3563:
3551:
3542:
3532:
3523:
3511:
3502:
3500:
3493:Reign of Terror
3482:Madame du Barry
3478:
3469:
3458:
3449:
3437:
3428:
3422:
3413:
3403:
3394:
3389:
3300:
3286:(2016) and the
3249:
3224:Saint Geneviève
3220:Comte de Forbin
3214:, the composer
3193:
3178:
3139:Duc de Choiseul
3055:Sixth Coalition
3027:
3022:
2927:
2919:Bossons Glacier
2882:Madame de Staël
2786:in the valley.
2784:Staubbach Falls
2734:
2680:General Oudinot
2656:
2647:Blenheim Palace
2513:Prince of Wales
2429:
2365:
2350:Madame de Staël
2279:
2238:
2235:
2155:
2149:
2146:
2108:Prince de Ligne
2056:Countess Kinska
2032:
1946:(1789) and the
1871:Prince Ysoupoff
1774:Reign of Terror
1740:, the house of
1734:local Cathedral
1642:Auguste Rivière
1452:Hadrian's Villa
1360:, delivered by
1358:pope's blessing
1329:Cardinal Bernis
1283:The Last Supper
1204:and many others
1135:Palazzo Caprara
1062:
1016:national guards
963:Nicolas Beaujon
952:
928:reception piece
897:
880:death in 1789.
848:
832:
780:
766:ambassadors of
643:
627:Charles Le Brun
603:Charles Le Brun
544:, 1771, pastel.
472:, close to the
451:
442:
431:
425:
422:
379:
377:
367:
355:
344:
302:Joshua Reynolds
257:
214:
190:
147:
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103:
86:
73:
67:
64:
45:
28:
24:
17:
12:
11:
5:
5738:
5728:
5727:
5722:
5717:
5712:
5710:Le Brun family
5707:
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5697:
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5459:
5452:
5445:
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5431:
5430:
5417:
5408:
5393:
5385:
5373:
5361:
5350:
5342:
5326:
5325:External links
5323:
5322:
5321:
5304:
5301:
5298:
5297:
5283:
5257:
5231:
5226:New York Times
5212:
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3702:
3695:
3693:
3681:
3674:
3672:
3664:
3657:
3655:
3649:
3642:
3640:
3630:
3623:
3621:
3611:
3604:
3602:
3592:
3585:
3583:
3573:
3566:
3564:
3552:
3545:
3543:
3533:
3526:
3524:
3512:
3505:
3503:
3479:
3472:
3470:
3459:
3452:
3450:
3438:
3431:
3429:
3423:
3416:
3414:
3404:
3397:
3393:
3390:
3388:
3385:
3318:Anita Brookner
3299:
3296:
3248:
3245:
3192:
3189:
3177:
3174:
3163:Père La Chaise
3119:English Garden
3026:
3023:
3021:
3018:
2926:
2923:
2847:Jura mountains
2779:Arabian Nights
2733:
2730:
2655:
2652:
2630:Warwick Castle
2615:Isle of Ischia
2544:United Kingdom
2529:Comte d'Artois
2521:Lord Borington
2449:Portman Square
2428:
2425:
2376:where she saw
2364:
2361:
2300:Peacock Island
2278:
2275:
2252:Empress Louise
2233:
2204:Grand Duchess
2154:
2151:
2144:
2071:Prince Kaunitz
2064:Prince Kaunitz
2052:Countess Thoun
2031:
2028:
1909:Writing of it;
1750:Palazzo del Te
1682:Lake Trasimene
1614:Virgil's grave
1547:Maria Cristina
1531:Maria Carolina
1500:Mount Vesuvius
1279:Sistine chapel
1267:M. de Ménageot
1244:Medici library
1161:Medici gallery
1061:
1058:
1045:Life Study of
951:
948:
896:
893:
831:
828:
779:
776:
756:The Second Sex
642:
641:Daughter Julie
639:
631:French Academy
584:Louis Philippe
450:
447:
444:
443:
358:
356:
349:
343:
340:
271:Madame Le Brun
249:
248:
245:
244:
236:
235:
231:
230:
227:
226:
221:
217:
216:
209:
205:
204:
199:
195:
194:
185:
181:
180:
179:
178:
173:
166:
159:
150:
144:
143:
140:
138:(aged 86)
132:
128:
127:
124:
111:
109:
105:
104:
96:
88:
87:
84:
75:
74:
54:it, or adding
31:
29:
22:
15:
9:
6:
4:
3:
2:
5737:
5726:
5723:
5721:
5718:
5716:
5713:
5711:
5708:
5706:
5703:
5701:
5698:
5696:
5693:
5691:
5688:
5686:
5683:
5681:
5678:
5676:
5673:
5671:
5668:
5666:
5663:
5661:
5658:
5656:
5653:
5651:
5648:
5646:
5643:
5641:
5638:
5636:
5633:
5631:
5628:
5626:
5623:
5621:
5618:
5617:
5615:
5599:
5598:Étienne Vigée
5596:
5593:
5590:
5587:
5584:
5581:
5580:Julie Le Brun
5578:
5577:
5575:
5571:
5565:
5563:
5559:
5558:
5556:
5552:
5545:
5544:
5540:
5537:
5536:
5532:
5529:
5528:
5524:
5521:
5520:
5516:
5513:
5512:
5508:
5505:
5504:
5500:
5497:
5496:
5492:
5489:
5488:
5484:
5481:
5480:
5476:
5475:
5473:
5469:
5465:
5458:
5453:
5451:
5446:
5444:
5439:
5438:
5435:
5427:
5423:
5418:
5416:
5412:
5409:
5401:
5397:
5394:
5390:
5386:
5382:
5378:
5374:
5370:
5366:
5362:
5358:
5357:
5351:
5347:
5343:
5339:
5338:
5333:
5329:
5328:
5319:
5315:
5314:
5313:
5307:
5306:
5293:
5287:
5272:
5268:
5261:
5245:
5241:
5235:
5227:
5223:
5216:
5201:
5200:
5193:
5178:
5174:
5168:
5153:
5149:
5143:
5128:
5124:
5118:
5110:
5103:
5095:
5093:9780300108729
5089:
5085:
5078:
5070:
5066:
5059:
5051:
5044:
5042:
5033:
5029:
5025:
5018:
5016:
5007:
5000:
4998:
4989:
4982:
4980:
4978:
4976:
4974:
4972:
4970:
4968:
4959:
4957:9780300108729
4953:
4948:
4947:
4938:
4936:
4934:
4927:
4922:
4914:
4907:
4905:
4903:
4901:
4899:
4897:
4888:
4881:
4873:
4872:
4864:
4862:
4853:
4846:
4838:
4831:
4823:
4819:
4812:
4810:
4801:
4794:
4786:
4784:9780140130935
4780:
4776:
4769:
4761:
4754:
4739:
4735:
4729:
4721:
4714:
4698:
4694:
4687:
4685:
4683:
4681:
4679:
4677:
4668:
4664:
4658:
4656:
4654:
4645:
4639:
4635:
4634:
4626:
4618:
4612:
4610:
4608:
4606:
4604:
4602:
4600:
4598:
4596:
4594:
4585:
4581:
4577:
4570:
4562:
4555:
4539:
4535:
4529:
4521:
4515:
4511:
4504:
4502:
4493:
4486:
4484:
4482:
4480:
4478:
4473:
4460:
4454:
4445:
4438:
4432:
4426:
4420:
4413:
4407:
4398:
4391:
4387:
4381:
4372:
4363:
4356:
4352:
4348:
4344:
4338:
4334:
4324:
4323:Women artists
4321:
4319:
4316:
4315:
4306:
4302:
4301:
4294:
4289:
4285:
4281:
4275:
4270:
4266:
4262:
4256:
4251:
4247:
4244:, 1797–1800.
4243:
4242:
4235:
4230:
4226:
4222:
4216:
4211:
4207:
4203:
4202:
4194:
4189:
4185:
4184:
4177:
4172:
4168:
4164:
4163:
4156:
4151:
4147:
4143:
4137:
4132:
4128:
4124:
4120:
4113:
4108:
4107:
4098:
4094:
4088:
4083:
4079:
4075:
4069:
4064:
4060:
4054:
4049:
4045:
4041:
4035:
4030:
4026:
4022:
4016:
4011:
4007:
4003:
3997:
3992:
3991:
3982:
3978:
3972:
3967:
3963:
3957:
3952:
3947:
3942:
3936:
3931:
3927:
3924:, 1791 Rome.
3923:
3917:
3912:
3908:
3901:
3896:
3892:
3888:
3887:
3880:
3875:
3871:
3867:
3865:
3858:
3853:
3849:
3845:
3844:
3837:
3832:
3828:
3824:
3818:
3813:
3809:
3805:
3799:
3794:
3790:
3784:
3779:
3775:
3771:
3765:
3760:
3759:
3749:
3745:
3739:
3734:
3730:
3726:
3725:Self-Portrait
3720:
3715:
3711:
3707:
3706:
3705:Hubert Robert
3699:
3694:
3690:
3689:Louvre Museum
3686:
3685:
3684:Joseph Vernet
3678:
3673:
3669:
3668:
3661:
3656:
3652:
3646:
3641:
3637:
3636:Louvre Museum
3633:
3627:
3622:
3618:
3614:
3608:
3603:
3599:
3595:
3589:
3584:
3580:
3576:
3570:
3565:
3561:
3557:
3556:
3549:
3544:
3540:
3536:
3530:
3525:
3521:
3517:
3516:
3509:
3504:
3498:
3494:
3490:
3489:
3484:
3483:
3476:
3471:
3468:
3464:
3463:
3456:
3451:
3447:
3443:
3442:
3435:
3430:
3426:
3420:
3415:
3411:
3407:
3406:Étienne Vigée
3401:
3396:
3395:
3384:
3381:
3379:
3375:
3371:
3366:
3364:
3360:
3359:
3353:
3351:
3346:
3344:
3340:
3336:
3332:
3331:
3325:
3323:
3319:
3315:
3310:
3309:
3305:
3295:
3293:
3289:
3285:
3284:New York City
3281:
3277:
3273:
3269:
3265:
3264:retrospective
3260:
3258:
3254:
3244:
3242:
3238:
3234:
3229:
3225:
3221:
3217:
3216:M. Désaugiers
3213:
3209:
3202:
3197:
3188:
3185:
3183:
3173:
3170:
3168:
3164:
3160:
3156:
3152:
3148:
3144:
3140:
3136:
3132:
3128:
3124:
3120:
3116:
3112:
3108:
3104:
3099:
3096:
3091:
3086:
3084:
3080:
3074:
3070:
3066:
3064:
3060:
3056:
3052:
3048:
3044:
3040:
3036:
3035:Île-de-France
3032:
3017:
3013:
3011:
3007:
3003:
2998:
2996:
2992:
2988:
2984:
2980:
2976:
2972:
2968:
2964:
2960:
2959:
2954:
2950:
2942:
2938:
2937:
2931:
2922:
2920:
2916:
2912:
2908:
2904:
2899:
2897:
2896:
2891:
2887:
2883:
2879:
2875:
2874:Blonay castle
2871:
2867:
2861:
2856:
2854:
2853:
2848:
2844:
2840:
2836:
2835:
2830:
2826:
2818:
2814:
2810:
2806:
2804:
2800:
2796:
2792:
2787:
2785:
2781:
2780:
2775:
2771:
2767:
2763:
2759:
2755:
2751:
2747:
2743:
2739:
2729:
2725:
2720:
2718:
2714:
2710:
2705:
2703:
2694:
2690:
2686:
2684:
2681:
2677:
2673:
2669:
2665:
2661:
2651:
2648:
2644:
2639:
2635:
2631:
2627:
2623:
2618:
2616:
2612:
2611:Isle of Wight
2608:
2604:
2603:Duc d'Orléans
2600:
2596:
2592:
2588:
2584:
2579:
2577:
2573:
2569:
2565:
2564:Hampton Court
2561:
2557:
2553:
2548:
2545:
2541:
2536:
2534:
2530:
2526:
2525:Mme. Grassini
2522:
2518:
2517:Lady Hertford
2514:
2509:
2507:
2503:
2502:Sarah Siddons
2499:
2498:Benjamin West
2494:
2492:
2491:
2490:Paradise Lost
2486:
2482:
2478:
2474:
2470:
2466:
2462:
2458:
2454:
2453:Maddox Street
2450:
2444:
2442:
2438:
2433:
2424:
2422:
2418:
2414:
2413:
2412:Merveilleuses
2409:
2405:
2401:
2400:
2395:
2391:
2387:
2383:
2379:
2375:
2371:
2357:
2354:, 1807–1809.
2353:
2351:
2346:
2340:
2336:
2335:
2330:
2326:
2324:
2319:
2315:
2310:
2308:
2303:
2301:
2295:
2292:
2288:
2284:
2274:
2271:
2269:
2265:
2261:
2260:M. de Rivière
2257:
2253:
2249:
2245:
2232:
2227:
2225:
2219:
2213:
2209:
2207:
2201:
2197:
2195:
2191:
2187:
2183:
2179:
2175:
2167:
2164:, 1795–1797.
2163:
2159:
2143:
2138:
2136:
2134:
2129:
2125:
2121:
2117:
2113:
2109:
2105:
2101:
2100:Neoclassicism
2096:
2092:
2089:and Princess
2088:
2084:
2079:
2076:
2072:
2067:
2065:
2061:
2057:
2053:
2044:
2040:
2036:
2027:
2025:
2021:
2017:
2013:
2009:
2005:
2001:
1997:
1993:
1989:
1985:
1981:
1980:Cumaean Sibyl
1977:
1973:
1969:
1965:
1961:
1957:
1956:Emma Hamilton
1954:portraits of
1953:
1949:
1945:
1940:
1938:
1934:
1933:Lake Maggiore
1929:
1927:
1923:
1922:
1915:
1910:
1908:
1906:
1901:
1897:
1891:
1888:
1884:
1880:
1874:
1872:
1868:
1864:
1860:
1856:
1852:
1847:
1845:
1841:
1836:
1834:
1830:
1826:
1822:
1818:
1814:
1810:
1806:
1802:
1798:
1794:
1793:Paccherotti's
1790:
1786:
1782:
1777:
1775:
1771:
1767:
1763:
1759:
1753:
1751:
1747:
1743:
1742:Giulio Romano
1739:
1735:
1728:
1726:
1722:
1717:
1711:
1709:
1705:
1700:
1698:
1694:
1689:
1687:
1683:
1680:, passing by
1679:
1675:
1673:
1668:
1664:
1659:
1655:
1651:
1647:
1643:
1639:
1635:
1629:
1627:
1623:
1617:
1615:
1611:
1607:
1603:
1599:
1595:
1589:
1587:
1583:
1579:
1573:
1568:
1566:
1561:
1558:
1555:
1550:
1548:
1544:
1540:
1536:
1532:
1528:
1524:
1520:
1516:
1512:
1508:
1503:
1501:
1497:
1493:
1489:
1485:
1480:
1477:
1473:
1469:
1465:
1461:
1460:Carlo Maratta
1457:
1453:
1449:
1445:
1441:
1437:
1432:
1428:
1424:
1419:
1417:
1415:
1410:
1406:
1402:
1398:
1394:
1390:
1386:
1382:
1381:Lady Hamilton
1378:
1374:
1370:
1365:
1363:
1359:
1355:
1349:
1347:
1342:
1338:
1332:
1330:
1326:
1322:
1318:
1314:
1308:
1306:
1299:
1295:
1290:
1288:
1284:
1280:
1275:
1272:
1271:Saint Peter's
1268:
1264:
1263:Via del Corso
1260:
1255:
1253:
1249:
1245:
1241:
1237:
1235:
1231:
1227:
1223:
1219:
1215:
1211:
1207:
1203:
1200:
1197:
1193:
1190:
1186:
1183:
1179:
1178:
1174:
1170:
1166:
1162:
1157:
1155:
1151:
1147:
1142:
1140:
1136:
1130:
1125:
1122:
1120:
1116:
1111:
1109:
1105:
1101:
1096:
1092:
1091:
1087:
1082:
1078:
1075:
1071:
1067:
1054:
1050:
1048:
1047:Lady Hamilton
1042:
1038:
1035:
1031:
1027:
1022:
1017:
1010:
1005:
1003:
999:
998:Les Invalides
994:
993:
992:sans-culottes
988:
984:
981:to visit the
980:
976:
975:Ancien Régime
968:
964:
960:
956:
947:
945:
941:
937:
933:
929:
925:
921:
917:
909:
905:
901:
892:
890:
886:
881:
879:
875:
872:. The child,
871:
867:
863:
862:
853:
846:
842:
841:
836:
827:
825:
821:
820:
815:
807:
806:
801:
794:
790:
789:
784:
775:
773:
769:
765:
760:
758:
757:
752:
748:
743:
742:
737:
733:
728:
726:
721:
717:
713:
712:Salon of 1785
709:
708:M. de Calonne
705:
700:
698:
694:
690:
689:
684:
683:
678:
674:
670:
665:
663:
655:
654:Louvre Museum
651:
647:
638:
636:
632:
628:
623:
621:
620:Mme. de Souza
615:
612:
608:
604:
600:
595:
593:
589:
585:
581:
577:
574:
570:
567:
563:
559:
555:
551:
543:
539:
535:
532:
528:
524:
520:
516:
512:
509:
505:
500:
498:
497:Étienne Vigée
494:
493:Joseph Vernet
490:
486:
482:
477:
475:
471:
467:
463:
457:
440:
437:
429:
426:February 2024
418:
415:
411:
408:
404:
401:
397:
394:
390:
387: –
386:
382:
381:Find sources:
375:
371:
365:
364:
359:This section
357:
353:
348:
347:
339:
337:
333:
330:
326:
322:
318:
314:
309:
307:
303:
299:
295:
291:
290:Ancien Régime
287:
283:
278:
276:
272:
269:or simply as
268:
263:
255:
246:
242:
237:
232:
228:
225:
222:
218:
213:
210:
206:
203:
200:
196:
193:
192:Neoclassicism
189:
186:
182:
177:
174:
172:
171:
167:
165:
164:
160:
158:
157:
153:
152:
151:
145:
141:Paris, France
134:30 March 1842
133:
129:
125:Paris, France
122:16 April 1755
110:
106:
101:
100:
94:
89:
82:
79:
71:
61:
57:
53:
49:
43:
39:
37:
32:This article
30:
21:
20:
5725:Vigée family
5561:
5541:
5533:
5525:
5517:
5509:
5501:
5495:Madame Grand
5493:
5485:
5477:
5463:
5425:
5414:
5381:the original
5369:the original
5355:
5336:
5331:
5311:
5310:
5286:
5276:11 September
5274:. Retrieved
5270:
5260:
5248:. Retrieved
5243:
5234:
5225:
5215:
5203:. Retrieved
5198:
5192:
5180:. Retrieved
5176:
5167:
5155:. Retrieved
5151:
5142:
5130:. Retrieved
5126:
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4817:
4799:
4793:
4774:
4768:
4759:
4753:
4741:. Retrieved
4737:
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4719:
4713:
4701:. Retrieved
4696:
4666:
4632:
4625:
4616:
4575:
4569:
4560:
4554:
4542:. Retrieved
4538:the original
4528:
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4406:
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4380:
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4093:Lord Bristol
4092:
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4020:
4001:
3977:Lord Bristol
3976:
3961:
3940:
3921:
3885:
3862:
3841:
3822:
3803:
3788:
3769:
3748:Getty Center
3743:
3724:
3703:
3683:
3666:
3650:
3631:
3612:
3593:
3574:
3553:
3534:
3515:Madame Grand
3513:
3486:
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3460:
3439:
3424:
3405:
3382:
3377:
3367:
3356:
3354:
3349:
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3343:Maggie Steed
3328:
3326:
3321:
3311:
3307:
3303:
3301:
3261:
3250:
3240:
3205:
3201:Louveciennes
3186:
3179:
3171:
3100:
3097:
3093:
3088:
3083:Hundred Days
3075:
3071:
3067:
3031:Louveciennes
3028:
3014:
2999:
2987:William Tell
2956:
2946:
2933:
2900:
2893:
2863:
2858:
2850:
2832:
2822:
2812:
2795:Burgomeister
2791:Schaffhausen
2788:
2777:
2761:
2735:
2727:
2722:
2716:
2706:
2698:
2692:
2657:
2643:Warwick vase
2634:Lord Warwick
2619:
2580:
2560:Windsor Park
2552:Gilwell Hall
2549:
2537:
2533:Duc de Berri
2510:
2506:John Hoppner
2495:
2488:
2445:
2434:
2430:
2410:
2397:
2389:
2366:
2348:
2332:
2311:
2304:
2296:
2280:
2272:
2240:
2229:
2220:
2217:
2203:
2194:Platon Zubov
2171:
2161:
2140:
2131:
2128:Prince Henry
2080:
2074:
2068:
2048:
2038:
2019:
2015:
1991:
1967:
1941:
1930:
1920:
1917:
1912:
1903:
1892:
1875:
1848:
1837:
1789:square there
1778:
1754:
1738:ducal palace
1730:
1724:
1720:
1715:
1713:
1701:
1696:
1693:Abbé Fontana
1690:
1670:
1665:, Cetri and
1630:
1618:
1590:
1575:
1570:
1562:
1551:
1535:Maria Teresa
1504:
1481:
1420:
1412:
1373:Lord Bristol
1366:
1362:Pope Pius IV
1350:
1344:
1333:
1310:
1301:
1297:
1292:
1282:
1276:
1256:
1232:
1205:
1201:
1198:
1191:
1176:
1169:Pitti palace
1158:
1143:
1132:
1127:
1123:
1112:
1104:Maria Amalia
1089:
1085:
1063:
1044:
1012:
1007:
990:
972:
958:
935:
931:
913:
903:
888:
885:First Empire
882:
874:Louis Joseph
859:
857:
838:
823:
817:
811:
803:
786:
761:
754:
746:
739:
731:
729:
701:
696:
692:
686:
680:
666:
659:
649:
624:
616:
596:
547:
541:
501:
478:
474:Palais Royal
458: Maisin
452:
432:
423:
413:
406:
399:
392:
380:
368:Please help
363:verification
360:
335:
310:
286:Neoclassical
279:
270:
266:
253:
252:
175:
168:
162:
155:
148:Notable work
136:(1842-03-30)
97:
78:
65:
33:
5625:1842 deaths
5620:1755 births
5592:Louis Vigeé
5109:Paris Match
4703:21 November
4125:Now in the
3922:Mme. Roland
3710:Salon Carré
3376:video game
3335:Dawn French
3247:Exhibitions
3191:Later years
3059:St. Germain
2997:in action.
2870:Lake Geneva
2829:Lake Zurich
2799:Rhine Falls
2766:Honoré Vial
2742:M. Ethinger
2591:Elizabeth I
2587:Knole House
2465:Shakespeare
2285:, visiting
2244:Russian mud
2010:(1794) and
1976:Domenichino
1952:allegorical
1937:Isola Bella
1905:Last Supper
1598:Herculaneum
1488:Mme. Mignot
1456:Monte Mario
1385:Mme. Roland
1337:Simon Denis
1222:Santa Croce
1202:Holy Family
1189:Rembrandt's
1086:The Manger,
979:Romainville
768:Tipu-Sultan
716:Paris Opera
695:(1786) and
677:Netherlands
573:Elizabeth's
558:Domenichino
550:High Rococo
519:old masters
462:Louis Vigée
323:in London,
298:aristocrats
224:Louis Vigée
188:High Rococo
56:subheadings
5614:Categories
5582:(daughter)
5554:Portrayals
5250:1 November
5034:: 120–146.
4824:: 109–134.
4544:26 October
4468:References
4357:and so on.
3374:dating sim
3262:The first
2936:Mont Blanc
2915:Mont Blanc
2676:The Terror
2626:Lord Moira
2469:Chatterton
2208:with Roses
2124:Königsberg
2116:Kahlenberg
1986:'s fourth
1768:, and the
1610:Paëisiello
1565:Brongniart
1448:Monte Cavo
1431:Abbe Maury
1411:notorious
1399:, and the
1196:Carracci's
513:, and the
449:Early life
396:newspapers
315:in Paris,
118:1755-04-16
68:April 2024
52:condensing
5600:(brother)
5588:(husband)
5538:(c. 1790)
5482:(c. 1782)
5471:Paintings
5071:: 93–120.
4584:195744889
4223:, 1797. (
4199:Princess
3864:Anne Pitt
3208:M. Despré
3155:Angoulême
3123:cathedral
3037:near the
2983:Kussnacht
2949:Neuchâtel
2845:, on the
2762:Landamann
2660:Rotterdam
2374:Tuileries
2264:Dolgoruky
1964:Bacchante
1626:Lazzaroni
1622:Solfatara
1539:Francesco
1523:bacchante
1496:Terracina
1464:Genazzano
1409:Bernini's
1369:Miss Pitt
1173:Raphael's
1146:Apennines
1081:Correggio
1070:Porporati
924:Louis XVI
878:Dauphin's
870:Salic law
635:Louis XIV
531:Rembrandt
342:Biography
336:Souvenirs
234:Signature
60:talk page
48:splitting
46:Consider
5594:(father)
5400:LibriVox
5205:28 March
5182:31 March
5157:10 March
5132:10 March
4743:10 March
4665:(1997).
4345:prefers
4312:See also
4282:, 1799.
4263:, 1798.
4204:, 1797.
4165:, 1796.
4144:, 1795.
4095:, 1790,
4076:, 1794.
4042:, 1793.
4023:, 1793.
4004:, 1793.
3979:, 1790,
3909:in Rome.
3889:, 1792.
3868:, 1792.
3846:, 1790.
3825:, 1790.
3806:, 1790.
3772:, 1790.
3746:, 1785.
3727:, 1781.
3687:, 1778.
3615:, 1789.
3596:, 1789.
3577:, 1785.
3558:, 1784.
3537:, 1784.
3518:, 1783.
3408:, 1773.
3294:(2016).
3151:Poitiers
3107:Bordeaux
3047:Prussian
3002:Untersee
2971:Lake Zug
2903:Chamonix
2898:(1807).
2815:, 1779,
2754:Rousseau
2337:, after
2309:family.
2268:Kourakin
2234:—
2210:, 1795.
2145:—
2060:Casanova
2006:(1792),
2002:(1792),
1898:and saw
1867:Po river
1827:and the
1811:and the
1805:Mantegna
1787:and the
1758:cicerone
1638:Adélaïde
1634:Victoire
1604:and the
1578:Lethière
1515:portrait
1492:Voltaire
1444:Tusculum
1248:the Arno
1214:Ghiberti
1182:Titian's
1154:Florence
1090:Nativity
1051:, 1792.
942:—either
906:, 1783.
843:, 1787.
791:, 1783.
764:Mysorean
749:(1789),
718:soprano
699:(1789).
675:and the
673:Brussels
669:Flanders
652:, 1786.
523:Van Dyke
521:such as
208:Children
184:Movement
36:too long
5573:Related
4390:Raphael
4386:David's
3866:as Hebe
3387:Gallery
3237:epitaph
3111:Orléans
2995:eclogue
2991:Gessler
2965:, then
2953:Lucerne
2890:Corinne
2843:Soleure
2717:friends
2583:Matlock
2477:Sundays
2427:England
2404:senator
2394:M. Vien
2283:Prussia
2277:Prussia
2087:Ariadne
2030:Austria
2008:Dresden
1988:Eclogue
1960:Ariadne
1902:famous
1678:Perugia
1667:Foligno
1602:Pompeii
1594:Paestum
1586:Procida
1527:guineas
1476:Ariccia
1462:in the
1339:in the
1313:Girodet
1305:Laocoon
1119:Bologna
1100:Infanta
1034:Jacobin
944:history
736:smiling
554:Raphael
479:In her
410:scholar
329:habitus
258:French:
34:may be
5546:(1796)
5530:(1790)
5522:(1789)
5514:(1788)
5506:(1787)
5498:(1783)
5490:(1783)
5090:
4954:
4837:L'Oeil
4781:
4640:
4582:
4516:
4347:LeBrun
3774:Uffizi
3653:, 1787
3617:Louvre
3292:Ottawa
3239:says "
2975:Goldau
2963:Schwyz
2913:, and
2909:, the
2886:Coppet
2878:Coppet
2839:Glarus
2803:Zürich
2556:Viotti
2485:Milton
2382:Louvre
2339:Titian
2287:Berlin
2182:Paul I
2153:Russia
2120:Prague
2004:Vienna
2000:Venice
1996:memoir
1990:. The
1984:Virgil
1972:sibyls
1823:, the
1819:, the
1783:, the
1748:, the
1744:, the
1736:, the
1686:Arezzo
1582:Ischia
1507:Chiaia
1484:Naples
1472:Albano
1395:, the
1391:, the
1287:Robert
1216:, the
1150:Tuscan
1115:Modena
908:Louvre
633:under
578:, the
527:Rubens
491:, and
481:memoir
412:
405:
398:
391:
383:
313:Louvre
282:Rococo
220:Father
198:Spouse
102:, 1782
5024:Sibyl
4353:uses
4329:Notes
3143:Tours
3127:Blois
3039:Seine
2866:Vevey
2758:Berne
2738:Basel
2709:Denon
2622:Stowe
2481:Routs
2390:Sibyl
2334:Danaë
2186:Elena
2075:Sibyl
2022:as a
2020:Sibyl
1992:Sibyl
1968:Sibyl
1944:Parma
1833:Turin
1797:Milan
1725:Sibyl
1721:Sibyl
1716:Sibyl
1704:Siena
1663:Trevi
1654:Terni
1650:Narni
1554:Capri
1543:Luisa
1427:Malta
1259:Tiber
1074:Parma
1066:Turin
1060:Italy
611:banns
417:JSTOR
403:books
212:Julie
5278:2021
5252:2019
5244:Spin
5207:2024
5184:2020
5159:2018
5134:2018
5088:ISBN
4952:ISBN
4779:ISBN
4745:2018
4705:2014
4638:ISBN
4580:OCLC
4546:2016
4514:ISBN
4412:Hébé
4343:ULAN
3363:Hole
3337:and
3153:and
3079:Elba
2979:Arth
2770:Thun
2746:Biel
2574:and
2568:Bath
2562:and
2519:and
2473:Pope
2471:and
2415:the
2266:and
2250:and
2188:and
2095:Iris
1756:her
1636:and
1584:and
1545:and
1470:and
1468:Nemi
1346:live
1252:Rome
1026:Lyon
556:and
529:and
389:news
131:Died
108:Born
5398:at
4351:RKD
3361:by
3290:in
3282:in
3270:in
3008:at
2967:Zug
2958:sic
2852:sic
2834:sic
2827:in
2184:),
2093:as
2085:as
1974:of
1958:as
1699:".
1348:."
1289::
1199:The
1088:or
456:née
372:by
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