Adélaïde Labille-Guiard

Adélaïde Labille - Guiard later known as " Madame Vincent " (* April 11, 1749 in Paris, † April 24, 1803 in Paris) was a French painter of the late 18th century and founded the first school for woman Parisian painters.

Life

Childhood and youth

Adélaïde Labille in 1749 as the daughter of Marie -Anne Saint -Martin ( † 1768) and the haberdasher Claude- Edme Labille as the youngest and only surviving of eight siblings in the eastern part of Neuve des Petits -Champs near the parish church of Saint- Roch was born in Paris. She was, quite possibly in a convent school, their general education. Then she helped in the clothing business of the Father " La Toilette " from which was located in the same street as their home. At the age of fourteen she had to be the idea of ​​a painter. One of the many artists in the Rue Neuve des Petits -Champs was the Geneva miniaturist François -Elie Vincent (1708-1790), who was also a good friend of Adélaïde Labilles father. With him they learned little portraits for medallions or as jewelry for snuff-boxes ( snuff boxes ) to produce. Vincent's son François -André Vincent, also a painter, was Adelaide's confidant and real teachers.

With twenty years Adélaïde Labille married on August 25, 1769 the tax officials Louis -Nicolas Giuard, who came from the neighborhood of the Rue Neuve des Petits -Champs. His friendship with Vincent was now interrupted advance, as this went on for six years after Rome. Adélaïde Labille - Guiard marriage remained childless, so they took up their studies again. Until 1774 she studied with the leading Parisian pastel painter Maurice Quentin de La Tour 's pastel technique, which was very fashionable in the 18th century. She was disappointed, however, as their pastel paintings were not particularly considered in the mass of the offer. Labille - Guiard presented for the first time on 25 August 1774 self-portrait miniature in watercolor and pastel, titled "Portrait of a justice of the peace " in the " Exhibition of Painting and Sculpture of Saint- Luc " in Paris. She began, around 1777, again with her friend Vincent, who had now returned from Rome to study oil painting. Since she could not be divorced from her husband, she settled on July 27, 1779 legally separate from him.

Popularity

On May 1, 1782 Labille - Guiard presented for the first time, for two weeks, at the "Salon de la Correspondance " from. They showed three pastels, a medium-sized portrait of the Count of Clermont- Tonnerre, and two head studies of a young man and a young woman. Ministers, princesses and other artists have now portray her. In June 1782 work of Labille - Guiard and Vigée -Lebrun Élisabeth next to each other at the "Salon de la Correspondance " issued, 1774, at the exhibition of the Académie de Saint -Luc, the two had met. The portrait painter Alexander Roslin presented Labille - Guiard 1783 the Royal Academy, who were allowed by statute belong to more than four women before. For the recording they had to make two oil paintings and was taken after a long consultation with 29 of total 36 votes with her ​​portrait of the sculptor Augustin Pajou on 31 May 1783 on the same day as the painter Élisabeth Vigée- Lebrun, in the academy.

The praise with which you received them in the drawing room of the Academy, was disturbed by a scandal. A libelous pamphlet entitled " Suite de Malborough au Salon 1783 " accused Labille - Guiard, similar later with Vigée- Lebrun, of "sexual and ethical impropriety ." It was alleged that they exhibited works by Vincent as their own, as well as Vincent also two thousand affairs is said to have enjoyed. Through an accomplished letter on September 19 to the Countess d' Angiviller that both Labille Guiard patroness, as well as the wife of the director general of the royal buildings was, the document could be suppressed to her relief. However, later went to continue similar fonts in circulation.

Since her, was denied the establishment of a studio in the Louvre, which is usually used as a classroom, she opened as an additional source of income by about 1780, the first Parisian woman School of painters, in 1783, she taught nine students. Among her pupils, the miniature painter Marie -Thérèse de Terre Noire (1760-1819), the portrait painter were Jeanne Bernard (1763-1842) which later became a student Vincent, Laurent Dabos (1761-1835) married and from then turned her husband of genre painting, Mademoiselle Verrier who exhibited in the Salon of 1786, and later married a Monsieur Maillard, Mademoiselle Alexandre is only represented in the exhibition De la Jeunesse in the years 1784 and 1786. An aunt of the king arranged Labille - Guiard 1788 to take up a Pomponne Hubert against a Sälar of 1200 pounds a year as a student. In 1785 her first almost life-size group portrait: "Self -portrait with two of her students, Marie -Gabrielle Capet and Marie -Marguerite- Carreaux de Rosemond " was issued. Mademoiselle Rosemond exhibited their works in 1783, 1784 and 1786 on the Place Dauphine, eventually married in 1788, however, a student of the German engraver Johann Georg Wille died in the same year.

Your most successful years had Adélaïde Labille - Guiard 1785-1789, including portraits of Claude -Joseph Vernet ( 1785 ), Charles- Amedee -Philippe van Loo ( 1785 ), Mesdames Marie Adélaïde (1787 ), Victoire (1788 ) and Marie Louise Élisabeth de Bourbon ( 1788) daughters of Louis XV and of Élisabeth Philippine Marie Hélène de Bourbon ( 1788) from. In 1788, commissioned the Count de Provence, Louis Stanislas Xavier, brother of Louis XVI, Labille - Guiard, to portray him in the center of a large group portrait, which had to be burned during the French Revolution, however, in addition to some of their other works of art. This hard acquired royal connections they made politically suspect after 1789.

Revolution and death

Surprisingly, the politics and the French Revolution did not affect their work. 1789, she made ​​a "patriotic donation" to the National Assembly. As once the princesses and aristocrats so now let the new power-holders, the deputies of the National Assembly, led by Maximilien Robespierre, a portrait of Adélaïde Labille - Giuard. In 1791 she exhibited thirteen pastel paintings by representatives of the National Assembly. In addition, she has fought for the right of women to artistic activity. In a speech to the Academy, she urged women resident permit. The motion was adopted then, but canceled again after the revolution. Because radical forces gained more and more control over the revolution, Labille Guiard moved increasingly from the public.

Their absence in Paris may have helped that she could survive the revolution well. Until 1795, she lived with her boyfriend Vincent, his brother Marie -Alexandre -Francois Vincent and two of her students Marie -Gabrielle Capet and Marie- Victoire d' Avril in a jointly acquired on March 8, 1792 Home in Pontault -en- Brie. Due to the new liberal marriage law they could now get a divorce from her husband on May 12, 1793. After then again returned to Paris together, got Labille - Guiard 1795 the first woman to permit a studio in the Louvre to purchase, where they could work with their students and Capet d' Avril on.

In her last years, it has sporadically from images in salons. Your probably the last piece of art family portrait she painted in 1801. On June 8, 1800 ( 19 prairial to VIII ) married eventually, meanwhile Einundfünfzigjährig, in the presence of her friends and Capet d' Avril, her childhood friend, the painter François André Vincent. However, the marriage lasted less than three years, as Madame Vincent died in 1803 in Paris.

Works

Adélaïde Labille - Guiard had not only itself a great career, but continued also determined and successful for the interests of painters one to improve their career prospects. However, it has overshadowed Labille - Guiard reputation through her ​​contemporary, the painter Élisabeth Vigée -Lebrun. Her works were after her death in disrepute. Thus, eg reaching the pastel portrait of Vien, which was auctioned off after the death of Vincent in 1816, only 38 francs. Only in the context of gender history buffs art history, the quality of their work was made ​​aware again. The largest collection of her works has the Louvre. More of her pictures can be found, among others, at the Getty Center, the Harvard University Art Museum, Honolulu Academy of Arts, Kimbell Art Museum, Los Angeles County Museum of Art, National Gallery of Art, National Museum in Warsaw, The National Museum of Women in the Arts and Palace of Versailles. The life-size self -portrait with her ​​pupils, Marie -Gabrielle Capet and Carreaux de Rosemond 1785 now hangs in the Metropolitan Museum of Art