Elisabeth Louise Vigée Lebrun, c. 1782
Self-portrait in Straw Hat
French, 1755-1842
National Gallery, London
Vigée-Lebrun pausing in her work, looks directly at viewers to return their gaze.
Although painting in the Rococo era, nothing about her mood or pose speaks of Rococo frivolity. Hers is the self-confident stance of a woman whose art has won her an independent role in her society. She was famous for the force and grace of her portraits, especially those of highborn ladies and royalty.
One of the few woman admitted to The Academy, after the French Revolution her membership was rescinded, because women were no longer welcome in that organization. Her continued success after the Revolution was indicative of her talent, wit and ability to forge connections with those in power.
The painting appeared, after cleaning, to be an autograph replica of a picture, the original of which was painted in Brussels in 1782 in free imitation of Rubens's 'Chapeau de Paille', which Vigée Le Brun had seen in Antwerp. It was exhibited in Paris in 1782 at the Salon de la Correspondence. Vigée Le Brun's original is recorded being in a private collection in France.
Elisabeth Louise Vigée Lebrun, c. 1782
Self-portrait in Straw Hat
French, 1755-1842
National Gallery, London
Vigée-Lebrun pausing in her work, looks directly at viewers to return their gaze.
Although painting in the Rococo era, nothing about her mood or pose speaks of Rococo frivolity. Hers is the self-confident stance of a woman whose art has won her an independent role in her society. She was famous for the force and grace of her portraits, especially those of highborn ladies and royalty.
One of the few woman admitted to The Academy, after the French Revolution her membership was rescinded, because women were no longer welcome in that organization. Her continued success after the Revolution was indicative of her talent, wit and ability to forge connections with those in power.
The painting appeared, after cleaning, to be an autograph replica of a picture, the original of which was painted in Brussels in 1782 in free imitation of Rubens's 'Chapeau de Paille', which Vigée Le Brun had seen in Antwerp. It was exhibited in Paris in 1782 at the Salon de la Correspondence. Vigée Le Brun's original is recorded being in a private collection in France.