Élisabeth Louise Vigée Le Brun with Her Daughter Julie

Élisabeth Louise Vigée Le Brun, French Artist, 1755–1842
Self-portrait with Her Daughter, Julie, 1786, oil on panel, 105 × 84 cm, the Louvre, Paris, France https://histoire-image.org/etudes/nouveau-visage-amour-maternel
Self-Portrait with Her Daughter, Julie (à l’Antique), 1789, oil on canvas, 130×94 cm, the Louvre Museum, Paris France https://commons.wikimedia.org/wiki/File:Self-portrait_with_Her_Daughter_by_Elisabeth-Louise_Vig%C3%A9e_Le_Brun.jpg

Sonnet IV by Victorian Poet Augusta Davies Webster, the Victorian Poet, reads… ‘Tis but a child. The quiet Juno gaze /     Breaks at a trifle into mirth and glow, /     Changed as a folded bud bursts into blow, / And she springs, buoyant, on some busy craze, / Or, in the rhythm of her girlish plays, /     Like light upon swift waves floats to and fro, /     And, whatsoe’er’s her mirth, needs me to know, And keeps me young by her young innocent ways.    /    Just now she and her kitten raced and sprang /     To catch the daisy ball she tossed about; /     Then they grew grave, and found a shady tree, / And kitty tried to see the notes she sang: / Now she flies hitherward–“Mother! Quick! Come see! /     Two hyacinths in my garden almost out!” Presenting two paintings of Élisabeth Louise Vigée Le Brun with Her Daughter, Julie is my humble contribution to May 14, and Mother’s Day! https://allpoetry.com/Mother-and-Daughter–Sonnet-Sequence

Élisabeth Louise Vigée Le Brun (1755-1842) was a French portrait painter who became one of the most celebrated artists of her time. Born in Paris, she was the daughter of a painter, Louis Vigée, and began studying art at a young age. She showed a remarkable talent for portraiture, and by the age of fifteen, she was supporting herself and her family through her art. In 1776, Vigée Le Brun married a wealthy art dealer named Jean-Baptiste-Pierre Le Brun, which helped to expand her social and professional networks. She soon became a favorite painter of the French aristocracy, including Queen Marie Antoinette, whom she painted numerous times.

During the French Revolution, Vigée Le Brun fled France due to her close association with the royal court. She spent several years traveling throughout Europe, painting portraits of various members of the nobility and aristocracy. She eventually settled in Russia, where she became a favorite painter of Catherine the Great. After the fall of Napoleon and the restoration of the French monarchy, Vigée Le Brun was able to return to France. She continued to paint portraits and exhibited her work regularly at the Paris Salon. She was also an accomplished writer, publishing several memoirs that detailed her life and career.

Vigée Le Brun’s art is known for its refined elegance and sensitivity to the individual character of her subjects. She painted many of the leading figures of her time, including royalty, politicians, and artists, and her work is now housed in museums and collections around the world. She was a pioneer for women in the male-dominated world of art, and her legacy as a ground-breaking female artist continues to inspire generations of artists today.

Élisabeth Louise Vigée Le Brun, French Artist, 1755–1842
Self-portrait with Her Daughter, Julie, 1786, oil on panel, 105 × 84 cm, the Louvre, Paris, France https://histoire-image.org/etudes/nouveau-visage-amour-maternel
Élisabeth Louise Vigée Le Brun, French Artist, 1755–1842
Self-portrait with Her Daughter, Julie (detail), 1786, oil on panel, 105 × 84 cm, the Louvre, Paris, France
https://www.facebook.com/museedulouvre/photos/naissance-de-%C3%A9lisabeth-louise-vig%C3%A9e-le-brun-birth-of-%C3%A9lisabeth-louise-vig%C3%A9e-le-b/10154657162619926/

In 1786, Élisabeth Louise Vigée Le Brun painted her first Self-Portrait with her daughter Jeanne Julie Louise, whom she called Julie, and caused a scandal! She presented herself holding her child most affectionately, looking straight to the viewer and smiling with her lips parted and her teeth showing. The 1787 gossip sheet ‘Mémoires secrets’ wrote… An affectation which artists, art-lovers and persons of taste have been united in condemning, and which finds no precedent among the Ancients, is that in smiling, [Madame Vigée-Lebrun] shows her teeth. Yet, Count of Angiviller, director general of the King’s Buildings, liked her Self-Portrait, as exhibited in the Salon of 1787, and requested that the artist paint a second version of the same subject. In 1789, Élisabeth Louise Vigée Le Brun complied and presented Self-Portrait with Her Daughter, Julie (à l’Antique). https://histoire-image.org/etudes/nouveau-visage-amour-maternel

Élisabeth Louise Vigée Le Brun, 1755–1842
Self-Portrait with Her Daughter, Julie (à l’Antique), 1789, oil on canvas, 130×94 cm, the Louvre Museum, Paris France https://commons.wikimedia.org/wiki/File:Self-portrait_with_Her_Daughter_by_Elisabeth-Louise_Vig%C3%A9e_Le_Brun.jpg

Both paintings by Vigée Le Brun are beautiful examples of the artist’s work and a significant representation of the Late Rococo Style. The paintings are notable for their emotional depth and the strong depicted bond between mother and child. They are a testament to the artist’s skill and her ability to capture the essence of her subject in a way that is both truthful and beautiful.

For a Student Activity, please… Check HERE!

Trilogy of Soap Bubbles

In Jean-Baptiste-Siméon Chardin’s eulogy, he was remembered for having once said, “One makes use of pigments, but one paints with one’s feelings.” And feelings he presents in his Trilogy of Soap Bubbles… three paintings of playful boys and shiny, shimmering, iridescent soap spheres… and a game, suggesting the transience of life. https://www.artsy.net/artwork/jean-simeon-chardin-soap-bubbles-1

The Metropolitan Museum of New York experts, where my favourite Chardin painting of Soap Bubbles reside, inform us that… The idle play of children was a favorite theme of Chardin, a naturalist among painters. Apparently, the experts continue, he drew inspiration from the seventeenth-century Dutch genre tradition for both the format and the subject, but it is not clear if the artist’s intention was for his painting, understood then to allude to the transience of life, carried such a message. https://www.metmuseum.org/art/collection/search/435888

Jean-Baptiste-Siméon Chardin was the son of a modest cabinetmaker and the student of equally modest artists. Born and raised in Paris, the artist rarely left the city, drawing inspiration from Parisian genre scenes and arrangements of typically French objects and food. He lived on the Left Bank near Saint-Sulpice until 1757, when Louis XV granted him a studio and living quarters in the Louvre. He started his career by painting signposts for tradesmen and details in other artists’ works but in 1728, the Portraitist Nicolas de Largillière “discovered” him at an outdoor show, and Chardin was immediately admitted for membership in the Académie Royale.https://www.getty.edu/art/collection/person/103JYN and https://www.jean-baptiste-simeon-chardin.org/biography.html

Chardin was a frequent participant at the Parisian Salon, a dedicated academician, and, later in life, a pensioner of the French King. He was much admired by Denis Diderot, who would prove to be a great champion of his work. All of his paintings exhibited in the Parisian Salons were outstandingly successful.  By 1770 Chardin was the ‘Premiere peintre du roi’, and his pension of 1,400 livres was the highest in the Academy. I am not surprised… even his simple, unassuming Still Lifes are treated with dignity and respect. So much so, that the novelist Marcel Proust wrote… We have learned from Chardin that a pear is as living as a woman, that an ordinary piece of pottery is as beautiful as a precious stone! https://www.getty.edu/art/collection/person/103JYN and https://www.jean-baptiste-simeon-chardin.org/biography.html

According to the dealer and collector Jean Pierre Mariette, writing some fifteen years after the fact, Chardin’s first figural picture, the MET experts inform us, showed a head of a young man blowing bubbles and was studied from a model. Between 1733 and 1739 Chardin painted three paintings, titled Soap Bubbles. It is also known, that in 1739 a version of Soap Bubbles was exhibited at the Paris Salon. The question is… which version? The answer is probably none of the three that have survived, in the Metropolitan Museum, the Los Angeles County Museum of Art, and the National Gallery of Art in Washington. They are definitely similar but not identical, none of them is dated, two of them are horizontals, and one, at the National Gallery, is vertical. https://www.metmuseum.org/art/collection/search/435888

Jean-Baptiste Siméon Chardin’s Trilogy of Soap Bubbles is popular and well-liked! The viewers are absorbed by the depiction of a boy poised on a stone windowsill blowing a big soap bubble and the younger boy next to him, fully absorbed in the activity. Although Chardin gives the illusion of capturing two youths in a candid moment, he has rigorously constructed his composition. Was his intention to present the viewer with an allegorical scene? Does it matter what the artist’s intention was? Are Chardin’s paintings of Soap Bubbles the perfect example of Rococo Art? My answer… I do not know… all I want is to feast my eyes and enjoy a moment of playfulness, and innocence… https://www.nga.gov/collection/art-object-page.994.html

For a PowerPoint on Chardin’s Soap Bubbles, please… Check HERE!

A wonderful Video for Children, prepared by the National Gallery of Art, on Chardin’s Soap Bubbles… https://www.youtube.com/watch?v=kaxg6MjjM6g

Tick-Tock Bedroom Clock

The work of a Grade 9 student! on the Tick-Tock, Bedroom Clock RWAP

Tick-Tock Bedroom Clock was inspired by the Getty Museum Activity: http://www.getty.edu/education/teachers/classroom_resources/curricula/decarts/decarts_lesson05.html. It has developed into a RWAP (Research-Writing-Art-Project) much liked by my students.

How fascinating can a Rococo Clock be to a High School student today? I am always surprised to discover that students respond positively and enthusiastically to the enjoyable, cheerful and carefree style of the 18th century we call Rococo. “Artists working in this frivolous aesthetic built upon the flamboyance of the Baroque period, adapting its awe-inspiring aesthetic to produce equally extravagant yet distinctively playful works of art.”

Do you know that “The term Rococo is derived from rocaille, a special method of decorating fountains and grottoes that dates back to the Italian Renaissance?” Artists using this technique “would mix seashells, pebbles, and other organic materials with cement, culminating in a naturalistic, under-the-sea-inspired medium.”

Rococo Decorative Arts are equally important and fascinating to painting and sculpture. They “often incorporate intricate, asymmetrical forms.” Their “serpentine silhouettes are inherently naturalistic yet undoubtedly exaggerated and are found in a range of objects, including intricate tables and eye-catching candelabra…” and Tick-Tock Clocks… I would add.

All quotations come from April 29, 2018, well-written to say the least article titled Celebrate the Elegance and Exuberance of French Rococo Art at MY MODERN MET https://mymodernmet.com/rococo-art/ site.

For more examples of student work, please… check HERE!

The Tick-Tock Bedroom Clock student Worksheet is… HERE!

A PowerPoint on Rococo Clocks is… HERE!