Vigée Le Brun
'Indispensable for anyone seeking to understand the complexity of the painter’s life and work'—The New York Review of Books
Elisabeth Louise Vigée Le Brun (1755–1842) was one of the greatest 18th-century French painters and among the most important women artists of all time. Celebrated for her expressive portraits of French royalty and aristocracy, especially of her patron and friend Marie Antoinette, she exemplified artistic success and personal resourcefulness in an age when women were rarely allowed either. Forced to flee France during the Revolution, Le Brun travelled throughout Europe for sixteen years, painting royal and noble sitters in the courts of Naples, Russia, Austria, Poland, and Germany. She returned to France in 1805, under the reign of Emperor Napoleon I, where her artistic career continued to flourish.
Alongside 85 of her finest paintings and drawings from international museums and collections, this handsome volume, the companion book to an exhibition at The Metropolitan Museum of Art, The Grand Palais, Oaris and the National Gallery of Canada details Vigée Le Brun’s story, portraying a talented and intelligent artist who was able to negotiate a shifting political and geographic landscape. Providing further context for the life of this extraordinary individual, essays by international experts address topics such as her travels in exile and the position of women artists in the Salons.
- Authors: Joseph Baillio, Katharine Baetjer and Paul Lang
- Hardcover: 280 pages
- Date published: March 2016
- Language: English
- ISBN: 978-1588395818
- Product Dimensions: 26.7 x 22.9 cm
'[a] sumptuous highly informative catalogue' - Arts Journal
'a ravishing, overdue survey' - New York Times
'a new exhibition at the Metropolitan Museum of Art in New York, which places her gentle, often exquisite portraits in the turmoil of the age' - The Guardian
'an exhaustive and eye-opening exhibition at the Metropolitan Museum of Art of about 90 works by Elisabeth Louise Vigée Le Brun (1755-1842) ...an undersung portrait painter of this period finally gets the close-up to which she is clearly entitled' - Wall Street Journal