Le Brun Biography
VLB was born on April 16th, 1755 in Paris. Her father was a pastel painter not very well recognized but greatly encouraged VLB’s interest and talent in painting. As a child, she was constantly drawing, so much so that she would get in trouble with the teachers for decorating her school work. At home, she had plenty of opportunity and support to experiment and create. She could draw alongside her father in his studio, and friends of her father would give her lessons in drawing, as well as invite her to be taught at the Academy of St. Luke. As she grew up and her art progressed, she gained the attention of some contemporary painters such as Joseph Vernet. Vernet advised the young artist not to follow any specific school of art, but to learn from the great Italian and Flemish masters—Ruben, Rembrandt, Greuze, and Van Dyck—and above all, nature.
Aii. To this extent, it seems as though VLB has followed the artist’s advice. She does not fit into any specific school but seems to be a mixture of forms which create her own comprehensive style. The dominant school of Neo-Classicism during the mid-18th century in …show more content…
France and its ideals are seen in her works. Neo-classicism is defined by its adherence to simplicity and reasoning with clear lines and a grounded color palette without frivolous details, only depicting what is necessary to the message or story of the painting. VLB’s technique shows clear, proportional forms with defined lines but they are not as strong and lend a softer character. Her color palette adds to the softness with her lighter, almost Rococo blues, pinks, and grays as she shies away from more substantial reds and browns often seen in Neo-Classical works. The insistence on simplicity stems from a study of classical Roman and Greek art and architecture which artists sought to parallel in their own works. VLB shows an interest in classical aspects in her works as well, sometimes depicting her subjects in classical dress. An intent to inform or relay a didactic message was an important idea in the values of Neo-classical painting. They used classical myths and legends as the medium through which to convey their messages, furthering the emphasis on classicism. As a portraitist, VLB did not strive to evince a moral message or make a commentary on her subjects through her works, [which is something she admits to having said she does not include a psychological account so as not offend her sitters.] However she has created a few works which depict scenes from classical times, Peace Bringing Back Abundance
Aiii.
Le Brun gained a great amount of popularity as a portraitist and received many commissions from notable figures such as counts and countesses, sisters of the king, and acclaimed artists. Her reputation and popularity became so great that she came to the attention of Queen Marie Antoinette by way of the king’s brother, Emperor Joseph II. She began this first portrait of the queen commissioned by the Emperor in 1778, Marie-Antoinette “en robe à paniers”. It is a formal portrait with the queen in full court regalia depicted in the Palace of Versailles and further allusions to her royalty by the crown cradled on a lush pillow on the table. The piece is brimming with the opulence, stateliness, and tradition of a French monarch. The Queen was very pleased with Le Brun’s work and had two more copies ordered, one of which was to go in her own rooms to be
admired. The two gained a friendship and intimacy as Le Brun continued to paint Marie Antoinette’s portrait for a total of around 30 paintings. Le Brun recalls in her memoirs how kind the queen was upon the first sitting when the artist was very intimidated at being in the presence of a monarch. The queen enjoyed singing duets with Le Brun at the end of their sittings and was very gracious on the occasion that Le Brun overturned her paint box and the queen knelt down to help her collect the paintbrushes herself. She had soon become a favorite artist, earning her the title of official portraitist to the queen.
Aiv. The queen’s fondness and support helped her gain a rare spot in the Royal Academy in 1783. She was initially proposed into the Academy by the painter and her mentor, Joseph Vernet, but some people such as Jean-Baptiste Pierre, opposed her admittance. The Academy was reluctant to accept women and they had only four spots at a time available to women. Additionally, VLB’s marriage to an art dealer was a basis for denial considering the Academy had a statute which prohibited academicians from participating in commerce. When VLB’s entrance was met with resistance, Marie Antoinette persuaded the king to make an exception for VLB. She submitted Peace Bringing Back Abundance as her reception piece. The painting shows she was able to create such an allegorical piece and be considered a history painter in addition to her skill in portraiture. She was accepted into the Royal Academy in 1783 in time to exhibit Marie Antoinette en Chemise in the Salon of that year.
Bi.
3
C. Style and technique The composition, style, and atmosphere of the painting of Marie Antoinette en Chemise is unelaborate, yet soft and pleasing. The colors seen in this painting are reminiscent of the Rococo tradition. VLB uses a light blue for the feathers floating from Marie Antoinette’s hat, a soft pink for the rose in her hand, and gray tones throughout the painting which give it a cohesive quality. The lighting is even and undramatic, only serving to put the background in a gentle shadow to focus the viewer’s eye on the subject. The composition and background themselves are simple. The only aspect which adds a sense of space or location is the mere corner of the carved, wood table which holds more of the roses. Beyond that is an unadorned, dark gray background with a slight highlight next to Marie Antoinette’s head. With the majority of the queen’s body just off center and to the left in the composition, this highlight adds a balance to the right. The dark gray background also serves to contrast the white of her dress and lightness of her skin which seems to subtly glow. VLB’s technique renders the queen’s form expertly as well as beautifully. She clearly defines the forms and outlines each detail: the blue bow of the queen’s hat is crisp while still displaying the silky texture of satin, the ruffles on her dress are clearly defined but also hint at their moving nature, and her hair appears soft yet fine, individual strands can be detected. The artist adds a softness and fluidity to her lucid portrayal of Marie Antoinette. Many aspects of her work reflect the Neo-Classical traditions which her contemporary artists were using. VLB uses a simple background for her portrait of Marie Antoinette which is seen many times in the portraits done by Jacques-Louis David, Neo-Classicism’s leading artist. The bare background emphasizes the simplicity sought after by Neo-Classicist, an adherence to the idea of portraying only what is important in the piece. VLB’s use of defined lines and clear lighting is also a hallmark of the Neo-Classical school which sought to reject the hazy figures and flickering light of the Rococo period. Although she uses definitive lines, she does so in a way that creates a softer and more fluid form whereas artists like David strove for solidarity and strength. For instance, Marie Antoinette’s arm which holds the ribbon has a curving and graceful quality that is much different from the angularity seen in the arm of Madame Récamier in his portrait of the lady. Another difference in VLB’s style from that of Neo-Classicism is the color palette. Darker, solid colors with a brown or red tonality were frequently used in David’s paintings and can be seen in Belisarius Receiving Alms, The Oath of the Horatii, and Death of Marat. In VLB’s piece, she seems to use a gray as the common base of her colors throughout the painting. There is the pure, dark gray of the background which is reflected in the lighter tone of Marie-Antoinette’s hair, and the low shadows of her white dress and the blue feathers. Additionally, Marie Antoinette en Chemise does not offer an overarching theme or analysis of Marie Antoinette’s character. The artist is simply portraying her patron to whom she has a fondness for as she wished to be seen. Meanwhile, many of David’s portraits seem to highlight certain aspects of his sitters’ personality almost creating a commentary on who they are. For instance in the portrait of his wife, to whom he did not have a great loving relationship, David plays up her large, red nose and adorns her in an overly flashy satin dress with feathers.
Aii. To this extent, it seems as though VLB has followed the artist’s advice. She does not fit into any specific school but seems to be a mixture of forms which create her own comprehensive style. The dominant school of Neo-Classicism during the mid-18th century in …show more content…
France and its ideals are seen in her works. Neo-classicism is defined by its adherence to simplicity and reasoning with clear lines and a grounded color palette without frivolous details, only depicting what is necessary to the message or story of the painting. VLB’s technique shows clear, proportional forms with defined lines but they are not as strong and lend a softer character. Her color palette adds to the softness with her lighter, almost Rococo blues, pinks, and grays as she shies away from more substantial reds and browns often seen in Neo-Classical works. The insistence on simplicity stems from a study of classical Roman and Greek art and architecture which artists sought to parallel in their own works. VLB shows an interest in classical aspects in her works as well, sometimes depicting her subjects in classical dress. An intent to inform or relay a didactic message was an important idea in the values of Neo-classical painting. They used classical myths and legends as the medium through which to convey their messages, furthering the emphasis on classicism. As a portraitist, VLB did not strive to evince a moral message or make a commentary on her subjects through her works, [which is something she admits to having said she does not include a psychological account so as not offend her sitters.] However she has created a few works which depict scenes from classical times, Peace Bringing Back Abundance
Aiii.
Le Brun gained a great amount of popularity as a portraitist and received many commissions from notable figures such as counts and countesses, sisters of the king, and acclaimed artists. Her reputation and popularity became so great that she came to the attention of Queen Marie Antoinette by way of the king’s brother, Emperor Joseph II. She began this first portrait of the queen commissioned by the Emperor in 1778, Marie-Antoinette “en robe à paniers”. It is a formal portrait with the queen in full court regalia depicted in the Palace of Versailles and further allusions to her royalty by the crown cradled on a lush pillow on the table. The piece is brimming with the opulence, stateliness, and tradition of a French monarch. The Queen was very pleased with Le Brun’s work and had two more copies ordered, one of which was to go in her own rooms to be
admired. The two gained a friendship and intimacy as Le Brun continued to paint Marie Antoinette’s portrait for a total of around 30 paintings. Le Brun recalls in her memoirs how kind the queen was upon the first sitting when the artist was very intimidated at being in the presence of a monarch. The queen enjoyed singing duets with Le Brun at the end of their sittings and was very gracious on the occasion that Le Brun overturned her paint box and the queen knelt down to help her collect the paintbrushes herself. She had soon become a favorite artist, earning her the title of official portraitist to the queen.
Aiv. The queen’s fondness and support helped her gain a rare spot in the Royal Academy in 1783. She was initially proposed into the Academy by the painter and her mentor, Joseph Vernet, but some people such as Jean-Baptiste Pierre, opposed her admittance. The Academy was reluctant to accept women and they had only four spots at a time available to women. Additionally, VLB’s marriage to an art dealer was a basis for denial considering the Academy had a statute which prohibited academicians from participating in commerce. When VLB’s entrance was met with resistance, Marie Antoinette persuaded the king to make an exception for VLB. She submitted Peace Bringing Back Abundance as her reception piece. The painting shows she was able to create such an allegorical piece and be considered a history painter in addition to her skill in portraiture. She was accepted into the Royal Academy in 1783 in time to exhibit Marie Antoinette en Chemise in the Salon of that year.
Bi.
3
C. Style and technique The composition, style, and atmosphere of the painting of Marie Antoinette en Chemise is unelaborate, yet soft and pleasing. The colors seen in this painting are reminiscent of the Rococo tradition. VLB uses a light blue for the feathers floating from Marie Antoinette’s hat, a soft pink for the rose in her hand, and gray tones throughout the painting which give it a cohesive quality. The lighting is even and undramatic, only serving to put the background in a gentle shadow to focus the viewer’s eye on the subject. The composition and background themselves are simple. The only aspect which adds a sense of space or location is the mere corner of the carved, wood table which holds more of the roses. Beyond that is an unadorned, dark gray background with a slight highlight next to Marie Antoinette’s head. With the majority of the queen’s body just off center and to the left in the composition, this highlight adds a balance to the right. The dark gray background also serves to contrast the white of her dress and lightness of her skin which seems to subtly glow. VLB’s technique renders the queen’s form expertly as well as beautifully. She clearly defines the forms and outlines each detail: the blue bow of the queen’s hat is crisp while still displaying the silky texture of satin, the ruffles on her dress are clearly defined but also hint at their moving nature, and her hair appears soft yet fine, individual strands can be detected. The artist adds a softness and fluidity to her lucid portrayal of Marie Antoinette. Many aspects of her work reflect the Neo-Classical traditions which her contemporary artists were using. VLB uses a simple background for her portrait of Marie Antoinette which is seen many times in the portraits done by Jacques-Louis David, Neo-Classicism’s leading artist. The bare background emphasizes the simplicity sought after by Neo-Classicist, an adherence to the idea of portraying only what is important in the piece. VLB’s use of defined lines and clear lighting is also a hallmark of the Neo-Classical school which sought to reject the hazy figures and flickering light of the Rococo period. Although she uses definitive lines, she does so in a way that creates a softer and more fluid form whereas artists like David strove for solidarity and strength. For instance, Marie Antoinette’s arm which holds the ribbon has a curving and graceful quality that is much different from the angularity seen in the arm of Madame Récamier in his portrait of the lady. Another difference in VLB’s style from that of Neo-Classicism is the color palette. Darker, solid colors with a brown or red tonality were frequently used in David’s paintings and can be seen in Belisarius Receiving Alms, The Oath of the Horatii, and Death of Marat. In VLB’s piece, she seems to use a gray as the common base of her colors throughout the painting. There is the pure, dark gray of the background which is reflected in the lighter tone of Marie-Antoinette’s hair, and the low shadows of her white dress and the blue feathers. Additionally, Marie Antoinette en Chemise does not offer an overarching theme or analysis of Marie Antoinette’s character. The artist is simply portraying her patron to whom she has a fondness for as she wished to be seen. Meanwhile, many of David’s portraits seem to highlight certain aspects of his sitters’ personality almost creating a commentary on who they are. For instance in the portrait of his wife, to whom he did not have a great loving relationship, David plays up her large, red nose and adorns her in an overly flashy satin dress with feathers.