Elisabeth Vigee-Lebrun


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Related to Elisabeth Vigee-Lebrun: Angelica Kauffmann
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Noun1.Elisabeth Vigee-Lebrun - French painter noted for her portraits (1755-1842)Elisabeth Vigee-Lebrun - French painter noted for her portraits (1755-1842)
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For instance, in a work inspired by a portrait by Louise Elisabeth Vigee-Lebrun, Juszkiewicz has painted the back of the head in place of the model's face, executing the parting of the hair and curls gathered on the top of the head with exquisite precision.
Divided into three parts--19th Century, 1900-1940, and 1975-2000--In Her Own Words features excerpts from letters, diaries, and journals by Elisabeth Vigee-Lebrun, Harriet Hosmer, Rosa Bonheur, Julia Margaret Cameron, Berthe Morisot, and Marie Bashkirtseff in Part 1; Paula Modersohn-Becker, Kathe Kollwitz, Georgia O'Keeffe, and Frida Kahlo in Part 2; and Alice Neel, Judy Chicago, Faith Ringgold, Louise Bourgeois, and Niki de Saint Phalle in Part 3.
The Portrait of the Countess Golovine by Elisabeth Vigee-Lebrun at the Barber Institute
Some resorted to practicing on sculptures, but others, such as Elisabeth Vigee-Lebrun, limited themselves to the female figure; most painted only portraits and still lifes.
A chance to see works by pioneers of women's art, such as the 16th and 17th-century Italian painters Lavinia Fontana and Elisabetta Sirani and the 18th-century French artist Elisabeth Vigee-Lebrun, this exhibition celebrates female artists from the 16th century to the present.
En la obra de muchos maestros podemos ver ensayos repetidos de autorretratos que no hacen mas que mostrarnos el ciclo de la vida, de tal modo que pintores como Alberto Durero--que en su primer autorretrato contaba con apenas 13 anos--, Rembrandt, Sofonisba Anguissola, Elisabeth Vigee-Lebrun, Edvard Munch [10] y Picasso [11-12] se presentan jovenes, adultos o viejos, sin mas pretension que la de cualquiera que se mira al espejo cada manana y se reconoce a si mismo.
The choice of the artist, Vigee-LeBrun, is appropriate as well, since Sheriff is also the author of The Exceptional Woman: Elisabeth Vigee-LeBrun and the Cultural Politics of Art (University of Chicago Press, 1995).
Her role as an icon of neo-classicism is famously embodied in Thomas Piroli's engravings, published in 1794, of Frederick Rehberg's drawings of her 'attitudes', but she would have been celebrated nonethless thanks to portraits of her by Tischbein, Kauffmann and Elisabeth Vigee-Lebrun as well as by Reynolds and Hamilton.