Madame d’Aguesseau de Fresnes
Madame d’Aguesseau de Fresnes c1789 by French Painter Elisabeth-Louise Vigée Le Brun (1755-1842); known for her work in the Rococo and Neoclassical styles, and best known for her fashionable portraits.
Dette er en Rococo style portrait of Henriette Anne Louise d’Aguesseau (1737 – 1794) Duchess of Noailles; a Salon hostess and the heiress of her grandfather, Henri François d’Aguesseau (1717 – 1750), and wife of Jean Louis François de Noailles (1739 – 1824), Count and Duke of Ayen.
She is wearing a period costume composed of a white dress with golden circles throughout with a matching large white hat with golden ribbons. She is also wearing a maroon velvet vest and a red belt with a cameo buckle.
Hun sitter på en stor smaragdgrønn sofa som har store blomstermønstre og hviler høyre arm på en veldig stor matchende pute med et gullbroderi rundt omkretsen og en gull og grønn dusk.
Madame d'Aguesseau de Fresnes er en retusjert digital kunstreproduksjon av et offentlig domenebilde.
Info nedenfor avledet fra Wikipedia.org
Elisabeth-Louise Vigée Le Brun som også var kjent som Madame Le Brun ble født i Paris Frankrike i april 16, 1755 til den franske portrettmannen og fanmaleren Louis Vigée (1715 – 1767) og frisør Jeanne (født Maissin) (1728 – 1800).
Hun hadde også en yngre bror Louis-Jean-Baptiste-Étienne Vigée (1758 – 1820) som var en kjent fransk dramatiker og en bokstavelig mann.
I en alder av 13 Élisabeth var engasjert med de kjente malerne i sin tid, som inkluderte franske malere Gabriel François Doyen (1726 – 1806), Jean-Baptiste Greuze (1725 – 1805), and Joseph Vernet (1714 – 1789); gaining much from the advice they gave her as to her painting, and in her early teens began painting portraits professionally.
Then the studio she had established was seized fro practicing without a license, so she then applied to the Académie de Saint-Luc; which unwittingly exhibited her artwork in their salon, og i 1774 she was made a member of the Académie.
I 1776 she married Jean-Baptiste-Pierre Le Brun, a painter and art dealer, and began showing her artwork at their home in Paris, the Hôtel de Lubert, and the Salons.
As Elisabeth career blossomed she was granted patronage by Queen Marie Antoinette (1755 – 1793); for whom she painted over 30 portraits of the queen and her family, which led to the misconception that she was the official portraitist of Marie Antoinette.
On May 31, 1783, Elisabeth was made a member of the Académie Royale de Peinture et de Sculpture; and was one of only 15 women to be granted full membership in the Académie between 1648 og 1793, along with her rival, Adélaïde Labille-Guiard.