Da Elisabeth Vigée Le Bru Marie Antoinette London, 1834 Partially watercolored l…

Description

Da Elisabeth Vigée Le Bru

Marie Antoinette London, 1834 Partially watercolored lithograph within a wooden table frame painted in black and gold. 15.75 x 12.60 in.

18

Da Elisabeth Vigée Le Bru

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Starting price 80 EUR

Based on a painting by MARIE LOUISE ELISABETH VIGÉE-LEBRUN (Paris, 1755 - 1842). "Sons of Louis XVI", pps. 19th century. Engraving on paper. Publisher: Maurice Blot. Moisture stains, wrinkles, folds, dirt. Size: 53 x 38 cm (print); 65 x 50 cm (paper). Marie Louise Élisabeth Vigée-Lebrun was the most outstanding French painter of the 18th century. She was introduced to art by her father, a portrait painter, and completed her training with G. F. Doyen, J. B. Greuze and J. Vernet. As a teenager she was already painting portraits professionally, and in 1774 she became a member of the French Academy. Two years later she was called to court to portray Queen Marie Antoinette, and the model was so pleased that she commissioned further portraits of herself, as well as of the princes and numerous nobles. She travelled to England and Switzerland, portraying figures such as Lord Byron, and was made an honorary member of the Society for the Advancement of the Fine Arts in Geneva. Vigée-Lebrun is represented in the Louvre, the Kimbell Art Museum in Texas, the Metropolitan in New York, the National Gallery in London, the Accademia Carrara in Bergamo, the Hermitage in St. Petersburg and the J. Paul Getty Museum in Los Angeles, among many other art centres around the world.

Estim. 40 000 - 60 000 EUR

ÉLISABETH VIGÉE LE BRUN (Paris, 1755-1842) PORTRAIT OF A YOUNG MAN Oval canvas Signed and dated lower left "Melle Vigée / 1775". Louis XVI period carved and gilded oak frame stamped Letonne et A.Levert Young man's portrait, oval canvas, signed and dated lower left "Melle Vigée / 1775", Louis XVI period carved and gilded oak frame stamped Letonne et A.Levert 58 x 46,50 CM - 22,8 x 18,3 IN. Provenance Collection of the Comte de Montlivault, acquired in the 1930s; Always remained in the family. We would like to thank Joseph Baillio for confirming the work's authenticity, based on a digital photo. A certificate, drawn up on February 2, 2024, will be given to the buyer. The work will be included in the catalog raisonné of Vigée Le Brun's work currently in preparation. Louise-Elisabeth Lebrun painted this portrait in the early years of Louis XVI's reign. By then, she had made a name for herself, and her diary records no fewer than seventy-four portraits delivered in 1776. Her first and only real master was her father, the portrait painter Louis Vigée. When he died in 1768, it was Gabriel Doyen, a renowned painter and great friend of his, who encouraged Louise-Elisabeth to take up the brush again. By the age of fourteen, she was already painting portraits in oil and pastel. Her father having left her no fortune, she supported herself and her mother through her art. Together they went to see Rubens' paintings and "many rooms full of paintings by the greatest masters" in Luxembourg, as well as the galleries of major Parisian collectors. I copied several of Greuze's heads of young girls," she reports in the second letter of her Souvenirs, "because they explained to me strongly the half-tones found in delicate complexions; Wandik also explained them, but more finely. I owe to this work the all-important study of the degradation of light on the protruding parts of a head, a degradation I admired so much in Raphaël's heads? My aptitude for painting was remarkable, and my progress was so rapid, that people began to talk about me in the world, which earned me the satisfaction of knowing Joseph Vernet". He advised her: "Above all, do as much as you can from nature: nature is the first of all masters." In 1775, Élisabeth signed her maiden name. She married in 1776. In 1778, three years after painting this portrait, she painted Queen Marie-Antoinette in full court costume for the first time (canvas, 273 x 193 CM, Kunsthistorisches Museum, Vienna). The frame is stamped by Henri Létonné, master carpenter, Paris, June 9, 1773, and Antoine Levert, carpenter and cabinetmaker, master, Paris, December 14, 1774.

Estim. 100 - 200 EUR

Souvenirs historiques

A ceremonial plate, Sevres, 1863, smooth form, polychrome painting in the mirror, portrait of Marie Antoinette, wife of Louis XVI, with feathered hat after the painting by Elisabeth Vigee-Lebrun, rim with ornamental gilding on cobalt blue ground, Ø 24 cm

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