Elisabeth Vigee-Lebrun

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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.
She focuses, in particular, on Elisabeth Vigee-Lebrun's striking 1807 portrayal of Madame de Stael as Corinne and the way in which it engages with the novel Corinne.
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
Moreover, she had to fend off slanderous accusations that she had secretly enlisted the services of a male helper (a teinturier as the expression went), a charge that was commonly brought up against women artists (Diderot had raised it against Marie-Therese Vien, the wife of the painter Joseph-Marie Vien and herself a member of the academy; it would later be invoked against Elisabeth Vigee-Lebrun).
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.
Most unexpected of all is a rare lapse of taste by the most gracious portraitist of her age, Elisabeth Vigee-Lebrun's picture of Mme de Stael (author of an influential study of the German Romantic Movement): rapt, maniacally dishevelled, pendulous of face, and corpulently tweaking a lyre in the Swiss Alps.
It is appropriate that this book's author begins her exploration of the relationship between creativity and sexuality in eighteenth-century France by focusing on Elisabeth Vigee-LeBrun's portrait of Madame de Stael in the guise of Corinne, from the title of de Stael's popular novel, Corinne, or Italy (1806).
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.