Vigee Le Brun Essay Research Paper ElizabethLouise — страница 2
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mother’s. It too, is a deep red color with a small outline of lace and ribbon around the neck. The dress has an added bow around the waist. This is done to show the dress as a dress of less maturity. The daughter does look like a young version of her mother, yes; but she can not be shown as overly mature because she is still a young lady. The bow simply down plays the power because of the child-like characteristic. The baby boy in the picture is, as noted in the first paragraph, holding onto his mother with an urgency to fulfill the need of the mother’s love and presence. The young boy, the middle child, is standing next to the crib of the baby boy with his finger pointing to the crib of his younger brother. The young boy has very nice posture. His attire is also that of an aristocratic child. This is a symbol of strength and masculinity. (At least enough for his age.) All of the children are nicely dressed and they all have very detailed faces; each is showing a different expression. (An expression that would relate to their ages.) They are all very beautiful children. “[It is] difficult to convey an idea today of the urbanity, the graceful ease, in a word the affability of manners which made the charm of Parisian society forty years ago. The women reigned then: the Revolution dethroned them.” Elisabeth Vig?e-Le Brun, 1835. The theme of the work is to portray Marie-Antoinette through Vigee-Le Brun’s portrait as mother-like to the other mothers and to the public whom would view her pictures. Elizabeth-Louise Vigee-Le Brun’s goal through “Marie-Antoinette and Her Children” was to create an image of the Queen that would appeal to the common folk. The composition of the portrait shows good relations between the children and their mother. The Rococo movement that is in play through this work has that palette of the typical Rococo painting. It demonstrates the soft colors and a playful use of the line. It shows the delicacy between each object and person in the entire work. Through the series of Marie-Antoinette’s portraits, Vigee-Le Brun had developed a relationship with the Queen. This, of course, had its obvious advantages for Vigee-Le Brun. Through this relationship, Vigee-Le Brun was granted an acceptance into the Royal Academy. This was a great advantage for her because she was technically barred from the academy due to her husband’s profession. But, Vigee-Le Brun’s relationship had made her presence around the Queen in France too dangerous because of the Revolution. Due to this, she and her nine year-old daughter made a dramatic escape from Paris. Her timing was so close that the night that she left was the same night that Marie-Antoinette and Louis XVI were arrested. From this escape, she and her daughter began twelve years of exile. Throughout these twelve years, she again captivated the nobility’s attention with her works. Her talent again gained her admissions into several academies. One quote from a recent writer serves as complete closing for Elizabeth-Louise Vigee-Le Brun when her art is characterized as “a conspicuous anachronism, typifying the final attempt by Ancient Regime society to shut its eyes to unwelcomed realities, and to take refuge in a world of make-believe and fancy dress.” (Heller 60). 5a3 Fiero, Gloria. The Humanistic Tradition: Faith, Reason, and Power in the Early Modern World. 3 rd ed. Vol. 4. New York: McGraw Hill, 1998. 143-6. Heller, Nancy. Women Artists: An Illustrated History. New York: Abbeville Publishing Group, 1991. 55, 58-66. Levey, Michael. Levey: Painting and Sculpture in France 1700-1789. New Haven: Yale University Press, 1993. 278-96. Eighteenth Century. The National Museum of Women in the Arts. 24 Feb. 2000 (http://www.nmwa.org/index.htn). . Bibliography Enlightenment Humanities class. An A paper.