GENERAL DESCRIPTION
Acclaimed for her candid and accurate portraits, Adélaïde Labille-Guiard was one of only a few women elected to the French Royal Academy of Painting and Sculpture in the 18th century. In this superb example of Revolutionary portraiture, she convincingly depicts a range of textures, from the sheen of silk to the matte hair powder, with loose and dynamic brushstrokes. Paralleling this lively application of paint is the sitter's casual and expressive demeanor; the direct gaze, raised eyebrow, and parted lips give the impression that he is actively engaging with us. By portraying him against a stark background without props or accessories, Labille-Guiard emphasizes his individuality and psychology over material wealth.
Excerpt from
DMA label copy.
NOTES
Created c. 1795
General Description from wall label 11/2/2018
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Catalogue essays
Artist/designers
Labille-Guiard, Adélaïde (French, 1749-1803)
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WEB RESOURCES
- National Museum of Women in the Arts~Learn more about the artist by reading this blog post from the NMWA.
- The Metropolitan Museum of Art, New York~Read a biography of Adélaïde Labille-Guiard.
- The Metropolitan Museum of Art, New York~Read this essay titled Eighteenth-Century Women Painters in France from the Met.
ARCHIVAL RESOURCES
FUN FACTS
- Adélaïde Labille-Guiard and fellow artist Élisabeth Vigée-Lebrun were both accepted into the French Académie Royale de Peinture et de Sculpture on May 31, 1783. They were deemed rivals by the press, but this was most likely not the case.
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Apply to objects where number equals 2017.18
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General Description
Acclaimed for her candid and accurate portraits, Adélaïde Labille-Guiard was one of only a few women elected to the French Royal Academy of Painting and Sculpture in the 18th century. In this superb example of Revolutionary portraiture, she convincingly depicts a range of textures, from the sheen of silk to the matte hair powder, with loose and dynamic brushstrokes. Paralleling this lively application of paint is the sitter's casual and expressive demeanor; the direct gaze, raised eyebrow, and parted lips give the impression that he is actively engaging with us. By portraying him against a stark background without props or accessories, Labille-Guiard emphasizes his individuality and psychology over material wealth.
Excerpt from
DMA label copy.
Fun Facts
- Adélaïde Labille-Guiard and fellow artist Élisabeth Vigée-Lebrun were both accepted into the French Académie Royale de Peinture et de Sculpture on May 31, 1783. They were deemed rivals by the press, but this was most likely not the case.
Archival Resources
Web Resources
- National Museum of Women in the Arts~Learn more about the artist by reading this blog post from the NMWA.
- The Metropolitan Museum of Art, New York~Read a biography of Adélaïde Labille-Guiard.
- The Metropolitan Museum of Art, New York~Read this essay titled Eighteenth-Century Women Painters in France from the Met.
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