Knowledge

2724: 4087: 3971: 1572: 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." 2142: 3529: 3645: 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; " 3588: 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. 3548: 4136: 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. 4234: 2809: 3996: 3090: 3738: 2860: 3719: 3508: 3626: 3916: 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 3660: 2158: 3698: 2035: 3607: 2689: 3857: 3419: 4034: 3434: 3400: 468:, who mostly specialized in painting with oils. Élisabeth exhibited artistic inclinations from her childhood, making a sketch of a bearded man at the age of seven or eight; when he first saw her sketches her father was jubilant and exclaimed that "You will be a painter my child, if there ever was one", and started to give her lessons in art. In 1760, at the age of five, she had entered a convent, where she remained until 1766. She then worked as an assistant to her father's friend, the painter and poet Pierre Davesne, with whom she learned more about painting. Her father died when she was 12 years old, from infections after several surgical operations. In 1768, her mother married a wealthy but mean jeweller, Jacques-François Le Sèvre, and shortly after, the family moved to the 4015: 3677: 3455: 800: 2200: 835: 538: 3783: 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. 93: 4112: 900: 622:, the Portuguese ambassadress, who passed stories of M. Le Brun's habits as a spendthrift and womanizer. Élisabeth would later regret this match as she found these rumors to be true, though she wrote that in spite of his faults he was still an agreeable and obliging man with a sweet nature. However, she frequently condemned his gambling and adulterous habits in her memoirs, as these left her in a financially critical position at the time of her flight from France. Her relationship with him deteriorated later so much that she demanded the refund of her dowry from M. Le Brun in 1802. Vigée Le Brun began exhibiting her work at their home, and the salons she held there supplied her with many new and important contacts. 4255: 1041: 646: 3817: 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". 3569: 3475: 3956: 2930: 955: 4053: 1129: 4274: 4193: 4176: 3798: 3836: 2231: 3900: 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 4215: 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; " 2345: 1914: 4155: 4293: 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. 783: 4068: 3764: 241: 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; 3879: 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: 3935: 3196: 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 352: 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 5405: 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 25: 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 2447: 2329: 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". 3474: 4111: 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 2432: 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 2859: 2546: 2431: 2293: 1660: 1619: 1036: 1018: 3230: 2367: 1571: 1559: 1334: 1273: 617: 3068: 1893: 3072: 2699: 2649: 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 2141: 1755: 1631: 1128: 613: 3089: 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 2320: 2297: 2077: 2049: 1889: 1293: 1008: 849: 2723: 1913: 1591: 1433: 533: 2230: 2446: 2221: 722: 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: 1302: 1023: 1097: 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 3015: 995: 808:, 1783. The criticism for this portrait's casual spontaneity had been so intense that Vigée Le Brun had it 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. 4086: 3970: 3644: 2241: 3528: 3094: 1478: 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 2050: 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 1894: 1009: 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 1718: 1013: 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 1345: 1351: 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, 4135: 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, 2640: 3587: 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. 3073: 2650: 744: 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, 1303: 1019: 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. 3995: 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. 2097: 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 4233: 1731: 3547: 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 3625: 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 3076: 1697: 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 3433: 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 331: 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. 1876: 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 2628: 3454: 3101: 1028: 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 2508: 569: 3737: 3069: 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. 3915: 3697: 3383: 3098: 2270: 4401: 3231: 1706: 3782: 3206: 1552: 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 723: 4254: 3507: 2748: 2594: 1458: 724: 4033: 3659: 1869: 3418: 3718: 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; 288: 4273: 4175: 2901: 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 3606: 4014: 2273: 3856: 3399: 1274: 1592: 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 579: 3816: 4292: 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. 1294: 5266: 4192: 1772:, whom she found to have been pining to return to France to see her children; this was to be her last meeting with the princess, who had been later executed during 1560: 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 3102: 1612: 4850: 4052: 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 5560: 3187: 2516: 2259: 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 4154: 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 946: 311: 5454: 2172: 4533: 3676: 1269:, went down to receive her. She requested lodging of him, and he quickly furnished her, her daughter and her governess a nearby apartment. He took her to see 3835: 2423:; time spent with the pair restored her spirits. Shortly thereafter, Vigée Le Brun decided to travel to England, and departed from Paris on 15 April 1802. 510: 1557: 985: 3797: 2808: 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 3568: 5494: 5364: 3514: 1878: 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 2625: 2306: 3121: 1661: 4388: 3466: 3445: 2715:, though she had heard that her journey to England had displeased Napoleon, who had allegedly said "Madame Le Brun has gone to England to see her 4214: 2527: 2511: 1364: 1335: 4835: 3306: 416: 5542: 4182: 3955: 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 3227: 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 1714: 915: 388: 4283: 2683: 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. 369: 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, 5526: 4733: 4448: 2322: 1514: 4414: 4067: 1853:, future king Louis XVIII (future queen of France in-exile). She excursed frequently to the countryside with her and her lady in waiting, 1799:, stopping at Vicenza, touring its palaces and landmarks, where she was also received lavishly. She then visited Padua, where she visited 5654: 5629: 5147: 2543: 1846:, while visiting the Queen, finding that had become increasingly reclusive and very thin, and delegated most of his duties to the Queen. 619: 395: 3763: 2632:, eager to see this after hearing it praised so much. Vigée Le Brun attempted to visit the area incognito to avoid any awkwardness with 2355: 738: 5664: 5644: 5447: 2601:, with whom Vigée Le Brun became well acquainted; they enjoyed painting the countryside together. She was subsequently received by the 2189: 1620: 1791:, and the local cemetery. While residing in Venice, she often engaged the company of the Spanish ambassadress, with whom she attended 614: 1765: 1580:, former director of the French Academy of painting in Rome. Soon afterwards, she was invited by Sir William to visit the Islands of 1077: 4436: 1641: 850: 3878: 3219: 2110:, whom she had first met in Brussels in 1781. It was at his urging that Vigée Le Brun wished so much to meet the Russian sovereign 2070: 2063: 2051: 1400: 402: 3496: 2440: 5634: 2313: 2127: 2078: 2066:. Vigée Le Brun praised his composition, though commented that numerous of his works that she witnessed were still not finished. 1328: 511: 4129:. Along with the other Uffizi portrait, are the only surviving self-portraits by the artist showing her in the act of painting. 4118: 3352:(premiered in 2007), a fictionalized historical drama about a love triangle set against the backdrop of the French Revolution. 3157: 3138: 2688: 2251: 2205: 2185: 1688:, Levana and Pietre-Fonte, finally arriving in Florence, where she had resided for a short while after her flight from France. 1133: 548: 3045:, which she found had been looted and stripped clean of its furniture and contents. On 31 March 1814, her house was raided by 2872: 2082: 2034: 1549:. She later recalled that Luisa "was extremely ugly, and pulled such faces that I was most reluctant to finish her portrait." 384: 5674: 5659: 5639: 5440: 4641: 4517: 2598: 2223: 2157: 2090: 1372: 1055:. This was widely considered to be one of Vigée Le Brun's greatest works, and was greatly received wherever it was displayed. 5699: 5669: 5649: 5534: 5197: 4264: 2633: 1312: 1233: 576: 3215: 2728: 338:), some of which are in epistolary format. They also contain many pen portraits as well as advice for young portraitists. 4161: 3842: 3275: 2609:, whom she painted and came to greatly enjoy her company, spending three weeks at her estate. Together, they visited the 2107: 1546: 1542: 2816: 982: 834: 799: 4925: 3925: 2267: 1808: 1745: 1534: 1396: 1368: 1184: 1001: 537: 3934: 1482: 5684: 5510: 5502: 5091: 4955: 4782: 4424: 3665: 1624: 1217: 860: 839: 771: 435: 92: 59: 2199: 899: 5689: 4537: 3042: 2685:, and toured the city with him and his wife, and visited a sick young painter who wished to make her acquaintance. 2532: 1404: 1266: 1040: 660: 2550: 2496: 2483:(or rout-parties), describing them as stuffy and dour. The artist sought out the tree under which the famous poet 1564: 1498: 1238: 597: 587: 2520: 1895: 1843: 1225: 1094: 877: 873: 664:, whom she called Julie and nicknamed "Brunette". In 1784, she gave birth to a second child who died in infancy. 300:, actors, and writers, and was elected to art academies in ten cities. Some famous contemporary artists, such as 5376: 5345: 5172: 4298: 2305: 2173: 1029: 5694: 5679: 5410: 3945: 2290: 2218: 1858: 1780: 1769: 1103: 1020: 918:. She was one of only 15 women to be granted full membership in the Académie between 1648 and 1793. Her rival, 703: 409: 373: 4816: 332: 5704: 4245: 3329: 2411: 2255: 1886: 1820: 1707: 1538: 1107: 851: 645: 514: 5368: 3207: 2929: 2663: 1928:. She visited the Madonna del Monte, enjoying its commanding view, and sketched the countryside frequently. 1577: 954: 5714: 5486: 5478: 4384: 4005: 3554: 2940: 2606: 1828: 1761: 919: 818: 804: 787: 707: 681: 598: 201: 169: 161: 154: 98: 3232: 3114: 2504:, who visited Vigée Le Brun's studio in Maddox Street. During her stay in London, the English portraitist 5585: 4145: 3538: 2789: 2778: 2637: 2059: 1936: 1518: 910:. Vigée Le Brun's submission to the Académie royale de peinture et de sculpture upon her admission there 5308: 5239: 2667: 2338: 702: 4166: 3597: 3519: 3287: 3279: 3158: 3054: 1384: 1239: 1052: 1032:, she was relieved to be finally out of France, although throughout her journey she was accompanied by 687: 324: 4692: 2585: 2055: 1824: 1556: 1530: 1510: 1392: 1376: 305: 5122: 5022: 3162: 3058: 3034: 2955:, where she was enchanted by the picturesque and wild town. The artist also visited Brown [ 2281: 926: 590:, among many others. In 1776, she received her first royal commission, to paint the portrait of the 484: 5719: 5388: 4122: 3118: 3061: 2671: 2555: 2317: 1854: 1134: 973: 5724: 5518: 3252: 3134: 3029: 1403:, which she found to be, architecturally, the most beautiful church in Rome. She also visited the 561: 465: 5709: 5291: 5221: 4205: 4200: 3146: 3024: 2645:, which he had purchased from Sir William as well. Vigée Le Brun then ended her tour by visiting 1924:, and various other drawings and sketches by Raphael, Da Vinci and numerous other artists at the 1800: 1741: 1637: 1605: 1435: 1413: 1270: 1069: 1015: 362: 51: 1304: 455: 4317: 3890: 3409: 3050: 2894: 2398: 2369: 2344: 2325: 2177: 2042: 1632: 1353: 1175: 1138: 35: 5107: 3578: 3461: 3130: 2420: 1367: 759:(1949): "Madame Vigée-Lebrun never wearied of putting her smiling maternity on her canvases." 5317: 4366: 3906: 3345:) paints a portrait of the Comtesse de Vache (Jennifer Saunders) weeping over a dead canary. 2947: 2753: 2749: 2617:(near Naples), these were the only two places where she would happily spend her entire life. 2247: 1947: 1925: 1784: 1657: 1388: 1221: 606: 3487: 3226:, with the face being a posthumous portrait of 12-year old Julie. For the local chapel, the 2910: 2403: 1656: 1319:, In exchange, they asked her for her own palette, which she obliged. She later visited the 5624: 5619: 4304: 4077: 4043: 3847: 3826: 3807: 3682: 3440: 3369: 3357: 2563: 2460: 1919: 1792: 1737: 1408: 1316: 1084: 1080: 865: 844: 792: 488: 3122: 2881: 2349: 1831:. After spending a week in Verona she left the city, hoping to return to France by way of 1434: 782: 552: 8: 4458: 4385: 4024: 3884: 3313: 3166: 2707: 2700: 2528: 2524: 2464: 2111: 1955: 1621: 1487: 1380: 1209: 1164: 1046: 939: 923: 884: 572: 495:, whose influence is evident in her portrait of her younger brother, playwright and poet 328: 47: 5377:"Gallery of works by Vigée Le Brun, articles, her memoirs, and biographical information" 4869: 3355: 2823: 740: 679:, where seeing the works of the Flemish masters inspired her to try new techniques. Her 469: 5597: 4224: 3728: 3267: 2712: 2578:. William Herschel showed Vigée Le Brun detailed maps of the moon, among other things. 2559: 1839: 1671: 1633: 1625: 1609: 1451: 1439: 1430: 1311: 1243: 1145: 966: 750: 496: 55: 41: 3085: 2597:, and then went to Twickenham where she visited Mme. la Comtesse de Vaudreuil and the 2547: 2416: 2114: 1422: 502: 327: 5087: 4951: 4944: 4778: 4637: 4579: 4513: 3338: 3274:. The first major international retrospective exhibition of her art premiered at the 3271: 3181: 3117:, where she was mesmerized by its elegance, beauty and architecture, designed in the 2868:, which she described as "the land of my dreams". She rented a house on the banks of 2741: 2701: 2575: 2468: 2456: 2393: 2368: 2103: 1899: 1645: 1324: 1298: 1195: 986: 763: 610: 526: 507: 503: 304:, viewed her as one of the greatest portraitists of her time, comparing her with the 274: 2298: 1982:, as indicated by the Greek inscription on the figure's scroll, which is taken from 4662: 4411: 4240: 4126: 3869: 3559: 3062: 3009: 2990: 2602: 2571: 2539: 2436: 2407: 2385: 2373: 2211: 2181: 2165: 2094: 2023: 2011: 1812: 1788: 1733: 1613: 1340: 1229: 1213: 1099: 943: 813: 583: 522: 453: 320: 316: 293: 2480: 1466: 1356: 974: 735: 289: 4631: 3492: 3481: 3251: 3133:, which she described it as "a romantic, fairy tale place". She then visited the 2918: 2783: 2679: 2675: 2646: 2132: 1870: 1815:. After departing Padua, she visited Verona, where she spent a week, touring the 1804: 1773: 1494:'s niece. She traveled in his spacious carriage to Naples, stopping at an inn in 1421: 962: 927: 626: 602: 301: 261: 3651: 3165: 2106:. The artist met for the second time in Vienna one of her greatest friends, the 5335: 5084: 4096: 3980: 3501:(Note:Though du Barry never wore rouge, another artist added it to her cheeks.) 3317: 2846: 2736: 2629: 2567: 2472: 2448: 1749: 1692: 1681: 1499: 1315:: they presented her with the palette of the greatly talented deceased painter 1278: 755: 719: 630: 5591: 4913: 3709: 3211: 3025: 2768:. She also met the seven-months pregnant Mme. de Brac, who accompanied her to 2765: 2744:, a local banker, who threw a banquet to welcome the artist. She proceeded to 2102:, and which may have been a reference to the virtuous republican Roman matron 461: 240: 223: 5613: 5579: 5052:. Translated by Robert Erich Wolfe. Zürich: Artemis Verlag. pp. 312–313. 4722:(rev. ed.). London: National Gallery Publications Ltd. pp. 328–329. 4583: 4322: 3704: 3283: 3263: 3256: 3005: 2873: 2773: 2610: 2501: 2497: 2489: 2476: 2452: 2099: 1979: 1932: 1849: 1533: 1526: 1459: 1286: 1262: 1168: 997: 991: 711: 661: 653: 565: 492: 285: 211: 191: 2419:, whom she met there for the first time since their friendship in Rome, and 2123: 3747: 3342: 3200: 3082: 3030: 2986: 2790: 2708: 2642: 2582: 2551: 2505: 2193: 2176:, whom she became well acquainted with, and other members of the family of 1816: 1652:, where she was charmed by the countryside. From there she continued on to 1361: 1357: 1285:, for which she expressed great praise, writing in a letter to the painter 473: 5432: 3154: 2982: 2948: 5426: 5411: 4946: 3362: 3334: 2973:. She visited an inn where she wanted to visit the infamous landslide of 2869: 2828: 2798: 2794: 2745: 2621: 2590: 2484: 2299: 1975: 1904: 1850: 1597: 1471: 1455: 1336: 978: 767: 715: 676: 591: 557: 5063: 4802:. Translated by Constance Borde and Sheila Malovany-Chevallier. Vintage. 4457: 1760:, touring the city's landmarks with her. She subsequently witnessed the 1576: 1093: 376: in this section. Unsourced material may be challenged and removed. 3373: 2935: 2914: 2906: 2243: 2115: 1866: 1862: 1447: 1387: 1068: 1037: 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: 5380: 3863: 3223: 3195: 3001: 2849:. Seeing a solitary chalet perched atop Mount Wunchenstein [ 2842: 2659: 2512: 2263: 1563: 1495: 1467: 1463: 1320: 1188: 961:, 1789. (née Adélaïde Harenc de Praël), the illegitimate daughter of 869: 634: 530: 5395: 4852: 4667: 3172: 2880:, where she met the famous dissident socialite and woman of letters 2802: 2620: 1208: 351: 280: 5421: 5399: 4871: 4762:. London: Unicorn Press and Lindsay Fine Art Ltd. pp. 460–462. 3150: 3106: 2970: 2902: 2377: 1987: 1951: 1882: 1757: 1691: 1491: 1443: 1418: 1257: 1153: 1033: 989: 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: 1966:(1792). Lady Hamilton was similarly the model for Vigée Le Brun's 1676: 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 2086: 2007: 1959: 1677: 1666: 1662: 1601: 1593: 1585: 1475: 1172: 1149: 1118: 553: 5050: 3255:(1774), Salon de la Correspondance (1779, 1781, 1782, 1783) and 812: 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: 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: 3109: 1106:, while she was in mourning for her recently deceased brother 914: 894: 5354: 4574: 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: 1971: 1943: 1832: 1796: 1703: 1653: 1649: 1553: 1426: 1258: 1073: 1065: 4375: 2864: 1942: 4342: 3266: 3078: 3004:, where she was fortunate to arrive in time to witness the 2978: 2769: 2757: 2069: 1251: 1247: 1124: 1025: 762: 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: 5422:"Elizabeth Vigée-Lebrun's Portrait of Giovanni Paisiello" 4350: 3125: 2966: 2957: 2884:, who was exiled by the Napoleonic regime. She stayed at 2851: 2833: 829: 4887: 4561: 3905: 3259:(1783, 1785, 1787, 1789, 1791, 1798, 1802, 1817, 1824). 2328: 2137: 5267:"Ambition: A Minuet in Power's extravagant aspirations" 4760: 4619:. Translated by Siân Evans. London: Camden Press. 1989. 4510: 3278: 2605:(the future King Louis Philippe). She then visited the 2493:, but was surprised to find that it had been cut down. 1935: 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: 2542: 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: 3175: 1998: 730: 601:, a painter, art dealer and relation of the painter 4775: 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: 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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: 142: 139: 135: 126: 123: 117: 115: 114: 113: 103: 86: 73: 67: 64: 45: 28: 24: 17: 12: 11: 5: 5738: 5728: 5727: 5722: 5717: 5712: 5710:Le Brun family 5707: 5702: 5697: 5692: 5687: 5682: 5677: 5672: 5667: 5662: 5657: 5652: 5647: 5642: 5637: 5632: 5627: 5622: 5605: 5604: 5602: 5601: 5595: 5589: 5583: 5576: 5574: 5570: 5569: 5567: 5566: 5557: 5555: 5551: 5550: 5548: 5547: 5539: 5531: 5523: 5515: 5507: 5499: 5491: 5483: 5474: 5472: 5468: 5467: 5460: 5459: 5452: 5445: 5437: 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: 5189: 5164: 5139: 5114: 5099: 5092: 5074: 5055: 5037: 5011: 4993: 4963: 4956: 4929: 4918: 4892: 4877: 4857: 4842: 4827: 4805: 4790: 4783: 4765: 4750: 4725: 4710: 4672: 4649: 4642: 4622: 4589: 4566: 4551: 4525: 4518: 4497: 4472: 4471: 4469: 4466: 4463: 4462: 4450: 4441: 4428: 4416: 4403: 4394: 4377: 4368: 4359: 4333: 4332: 4330: 4327: 4326: 4325: 4320: 4313: 4310: 4309: 4308: 4297: 4290: 4288: 4278: 4271: 4269: 4259: 4252: 4250: 4238: 4231: 4229: 4219: 4212: 4210: 4197: 4190: 4188: 4180: 4173: 4171: 4159: 4152: 4150: 4140: 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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: 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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: 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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:. 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