The French Academie Royale’s Salon was a long-standing tradition, which placed certain artists, at the forefront of art; in specific the Salon of 1785 will be reviewed as such. The review will call to attention the contemporary political, social and economic factors of France in the 18th century, specifically through the lens of notable works such as David’s portrait of Mme Pècoul, Wertmuller’s Marie-Antoinette and Her Children, and Guiard’s Self-Portrait with Two Pupils. Additionally, with examination of these portraits will show culmination of the Salon as a public forum in the pre-revolutionary France, of the late 18th century. Additionally, how this salon and those prior served as impetus for the coming revolution.
In the last three-fourths of the 1700s in France a grand cultural and artistic tradition was moved from its inception to an annual or biannual reoccurring event. The French Royal Academy, which started in 1648, created the Salon out of need for a more regular public forum in which the goal was two fold, “to acquaint the public with the progress and excellence of artistic production in France and to spur emulation among the academicians. ” Since the Academy’s inception until 1725 there was no regular forum in which both the pupils and public could view completed work the vast majority of which was destined for private collections. The Royal Academy was smart in the fact that it not only generated interest in their artists leading to more notoriety, patrons and from those money but additionally they were able to use it to improve the quality of academicians.
Over the rest of the century the Salon becomes a place known for discussion and may very well have been the foster home for pre-revolutionary thought. The Salon...
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...er’s meaning was to perpetrate Marie-Antoinette as the mother of France. As the except from Marie Antoinette: Writings on the Body of a Queen states, “Its insistent visual focus on the queen’s maternal body (reinforced by the crudely triangular composition). It also satisfied, perhaps, subliminal longings in both women for a compensatory image of maternal tenderness. ” The queen is trying to sway her public into accepting and trusting a Hapsburg¬– a foreigner. With that being said, from the public’s viewpoint there is corresponding symbolism that purports the queens disavowing of her Austrian heritage. The queen, in this portrait, has dropped the Hapsburg roses that she is normally depicted with almost as if she has been pricked by one of the thorns.
Last and certainly not least, the all female painting of Self–Portrait with Two Pupils by Adélaïde Labille–Guiard.
Getlein, Mark. "Chapter 17-The 17th and 18th Centuries." Living with Art. 9th ed. Boston, MA: McGraw Hill, 2008. 384-406. Print.
For my assignment, I will be comparing the two pieces of art titled Louis XIV painted by Hyacinthe Rigaud and Portrait of Marie Antoinette With Her Children by Marie-Louise-Elisabeth Vigee-Lebrun. I will be analyzing and breaking down the different techniques used in both paintings and explaining the similarities between them as well. Though the paintings contain the same family throughout both, there is a clear imbalance in power and something very normal for this time period. I will be elaborating on the difference in social status between the two paintings, even though they are the same family.
Self-Portrait with Two Pupils, Marie Gabrielle Capet and Marie Marguerite Carreaux de Rosemond was done Adelaide Labille Guiard in 1785. It was done in Paris, France and the medium is oil on canvas. Adelaide Labille Guiard was born in 1749 and died in 1803. She was one of few to practice and master at miniatures, pastels and oil paintings. Due to male dominance in these practices, women were not accepted as pupils, due to society perception that women are not able to follow instructions as easily as men.
Through the analysis of Thérésia Cabarus’s portrait, Amy Freund attempts to examine Cabarus’s failure to “create a feminine version of political agency through portraiture” in order to provide insight into the unfulfilled promises of female citizenship during the French Revolution. She asserts that, through the use of a combination of imagery associated with revolutionary femininity, including the emphasis on the sitter’s physical passivity and sentimental attachments, and conventions usually associated with male portraiture, Cabarrus and Laneuville, the painter, attempted to present her portrait as an argument for women to be granted an active role in revolutionary politics. Freund suggests that the portrait failed to achieve its goals because it recalled the Terror and the disunity of France in addition to invoking the “anxiety surrounding the increased visibility of women in post-Thermidorean social life and visual representation.” Because of its relative failure, Freund considers Cabarrus’s portrait a symbol of the “possibilities and limitations of female agency in Revolutionary portraiture and politics” as well as a shift in portraiture; as she remarks, “portraiture after 1789 shouldered the burdens formerly borne by history
"National Gallery of Art." The Age of Watteau, Chardin, and Fragonard. N.p., n.d. Web. 14 May 2014.
Pollock, Griselda. Mary Cassatt, Painter of Modern Women . London: Thames and Hudson, Ltd., 1998.
The following paper will discuss alcohol consumption in pregnancy and affects it has on a newborn. In order to provide proper care every nurse should be knowledgeable on this subject and ready to educate patients to make sure that they understand risks and consequences of drinking alcohol while pregnant.
Wilde, Robert. "ABout.com Education European History ."Causes of the Renaissance. N.p.. Web. 14 Apr 2014. .
Aristotle once claimed that, “The aim of art is to represent not the outward appearance of things, but their inward significance.” Artists, such as Louise-Elizabeth Vigée Le Brun and Mary Cassatt, captured not only the way things physically appeared on the outside, but also the emotions that were transpiring on the inside. A part no always visible to the viewer. While both artists, Le Brun and Cassatt, worked within the perimeters of their artistic cultures --the 18th century in which female artists were excluded and the 19th century, in which women were artistically limited-- they were able to capture the loving relationship between mother and child, but in works such as Marie Antoinette and Her Children and Mother Nursing her Child 1898,
Adèle Ratignolle uses art to beautify her home. Madame Ratignolle represents the ideal mother-woman (Bloom 119). Her chief concerns and interests are for her husband and children. She was society’s model of a woman’s role. Madame Ratignolle’s purpose for playing the pia...
Calhoun, Bonnie. "Shaping the Public Sphere: English Coffeehouses and French Salons and the Age of the Enlightenment." Colgate Academic Review 3.1 (2012): 7.
According to Shearer West, a portrait is “a work of art that represents a unique individual”. West elaborates on the implications of this definition of a portrait, introducing the dilemma of the painter, who may strive to illustrate either or both the ideal figure, or a likeness of the sitter. Jean Germain Drouais’ resolution to such a dilemma can be observed in the painting, Madame de Pompadour at her Tambour Frame, as he struggles to portray both the femininity of the ideal woman in the 1760s, while conveying the more present, aged and unique characteristics of the lady that captured King Louis XV’s heart.
The French Revolution, indeed, changed the structure of economics and social sphere of the old regime, and also the ideology of that time. In the years that followed the Revolution, the always increasing senses of both freedom and individuality were evident, not only in French society, but also in art. As stated by Dowd, “leaders of the French Revolution consciously employed all forms of art to mobilize public sentiment in favor of the New France and French nationalism.” In between all the artistic areas, the art of painting had a special emphasis. After the Revolution, the French art academies and also schools were now less hierarchical and there was, now, more freedom of engaging into new themes, not being the apprentices so tied up to their masters footsteps, not being so forced to follow them.
Zundel, Hannah, Sophie DuPont, Emily Olsen, and Marisa Rondinelli. "Women's Involvement in the French Salons (Early 18th Century)." Women's Involvement in the French Salons (Early 18th Century) - ILS202_fall11. N.p., 2011. Web. 27 Apr. 2014.
In the University Of Arizona Museum Of Art, the Pfeiffer Gallery is displaying many art pieces of oil on canvas paintings. These paintings are mostly portraits of people, both famous and not. They are painted by a variety of artists of European decent and American decent between the mid 1700’s and the early 1900’s. The painting by Elizabeth Louise Vigee-Lebrun caught my eye and drew me in to look closely at its composition.