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to paint an official portrait depicting Marie
Antoinette sympathetically. The focus was to be on Marie Antoinette as a queen and, more importantly, a mother; as such, the painting shows her surrounded by her children and wearing little jewellery. To further engage the public’s sympathy, Vigée Le Brun
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of August 1787. However, due to Marie
Antoinette’s unpopularity at the time and fears that the painting would be damaged, Vigée Le Brun refused to send it. Nevertheless, the administration insisted that she do so, and the painting was exhibited, with the reaction being mixed.
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The painting is one of the most emblematic works in the
Versailles collection and is considered an important national treasure; it is known to most in France as it is reproduced in history textbooks.
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at the time, is near the empty cradle, intended for her younger daughter, Sophie-BĂ©atrice, who died before the painting's completion.
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The painting shows Marie
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wore in a portrait. There is also a jewellery cabinet on the right, which evokes the story of
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of
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275 cm Ă— 216.5 cm (108 in Ă— 85.2 in)
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The painting is heavy with symbolism. Its overall composition is inspired by
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Marie
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Marie-Antoinette de
Lorraine-Habsbourg, reine de France, et ses enfants
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versions were produced in 1814, 1822 and 1897. The first was given to
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352:"Elisabeth Louise Vigée Le Brun: Marie Antoinette and Her Children"
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left an empty cradle in the place of the queen’s youngest child,
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499:"Tapisserie de lice – Marie-Antoinette entourée de ses enfants"
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After the Salon, until June 1789, it was exhibited in the
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202:Louis XVII
82:Versailles
66:Dimensions
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74:Location
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116:History
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