Elisabeth Louise Vigee-LeBrun (1755-1842), born into an artistic family, had her father Louis Vigee, a locally renowned pastel artist. She went on to become one of the most successful female artists in European art history.
From a young age, Elizabeth showed a keen interest in art, playing in the studio at boarding school. Her father, unlike traditional parents of the time, recognized her artistic talents and chose to teach her proper painting techniques, going against societal norms that limited formal art training for women. Under his guidance, Elizabeth's skills flourished, and by the age of 12, she was already earning commissions.
In 1775, at the age of 20, Elizabeth met the love of her life, Jean-Pierre LeBrun. Unlike other women of the time, she was fortunate to have a husband who not only didn't demand she give up her career but also traveled Europe with her, exploring art galleries and museums. Their adventures left whispers of admiration in well-known art circles.
Despite being born in the Rococo period, LeBrun was not enamored with the overly ornate and shallow Rococo style. Her personal style combined the bright colors of Rococo with the grace and sophistication of Neoclassicism.
In 1778, she entered the Versailles Palace, where she had a fateful encounter with the last queen of the Bourbon dynasty, Marie Antoinette. This historic meeting left a lasting impression on LeBrun, who later described Marie Antoinette's skin as almost translucent, making it challenging to capture her uniquely exquisite beauty.
In the same year, LeBrun created one of her most famous portraits, "Marie Antoinette and Her Children." This portrait propelled her into high society, earning her the prestigious title of the Queen's portraitist.
The friendship between LeBrun and Marie Antoinette went beyond the artist-client relationship. They became confidantes, sharing joys and sorrows, discussing art and gossip. Their friendship transcended roles, creating a bond between two kindred spirits.
In 1783, defying societal norms, LeBrun became a member of the French Royal Academy of Arts with Marie Antoinette's strong support. Despite her talent, skepticism persisted, with many speculating that a woman painting portraits with such depth and individuality must be receiving help from a male artist.
LeBrun silenced her critics with her masterpiece, "Peace Embracing France." Her unique ability to express emotions, particularly in her iconic mother-and-child themes, set her apart. Her depictions of Marie Antoinette as a loving mother countered the public's image of the extravagant "deficit queen."
In 1788, LeBrun painted her final portrait of Marie Antoinette, capturing the queen in blue attire with fading flowers, symbolizing the approaching end of an era. Shortly after, the French Revolution erupted, and the Bourbon monarchy faced its downfall. Fearing for her safety, LeBrun fled with her daughter, beginning a life of exile.
Despite the tumultuous times, LeBrun's exile was not as harsh as her contemporaries'. Her first stop was Italy, where she met Marie Antoinette's sister, Queen Maria Carolina of Naples. LeBrun's artistry flourished, and she created numerous allegorical works for the Italian nobility.
Later, she traveled to Austria and Russia, continuing to serve royal families. It wasn't until 30 years later, with the efforts of her husband and his brothers, that LeBrun returned to France. However, the familiar studio and lights couldn't bring back the familiar faces.
In her lifetime, Elisabeth Louise Vigee-LeBrun defied societal norms, leaving behind a legacy of timeless portraits and a story of friendship that withstood the test of revolutions and exile.
