Adélaïde Labille-Guiard

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Self-portrait with two of her students, Marie-Gabrielle Capet and Marie-Marguerite Carreaux de Rosemond, 1785

Adélaïde Labille-Guiard , later also called Madame Vincent (born April 11, 1749 in Paris ; † April 24, 1803 in Paris), was a French classicist painter in the late 18th century and founder of the first Parisian women's school for painters .

Life

Self-portrait, watercolor miniature from 1774
The painter François-André Vincent in 1783
The sculptor Augustin Pajou , pastel from 1782.

Childhood and youth

Adélaïde Labille was born in 1749 as the daughter of Marie-Anne Saint-Martin († 1768) and the haberdashery Claude-Edme Labille as the youngest and only survivor of eight siblings in the eastern part of the Neuve des Petits-Champs near the parish church of Saint-Roch born in Paris. She received her general education , possibly in a convent school . She then worked in her father's clothing store, "La Toilette," which was on the same street as her home. At the age of fourteen she had the idea of ​​becoming a painter. One of the many artists on Rue Neuve des Petits-Champs was the Geneva miniature painter François-Elie Vincent (1708–1790), who was a good friend of her father. With him she learned to make small portraits for medallions or as trinkets for tobacconists (snuff boxes). Vincent's son François-André Vincent , also a painter, became Adélaïde's confidante and actual teacher.

At the age of twenty, Adélaïde Labille married the tax officer Louis-Nicolas Giuard on August 25, 1769, who also came from the neighborhood of Rue Neuve des Petits-Champs. The friendship with Vincent had already been broken because he had gone to Rome for six years. Adélaïde Labille-Guiards marriage remained childless, so she resumed her studies in the same year. By 1774 she learned the pastel technique from the leading Parisian pastel painter Maurice Quentin de La Tour , which was very fashionable in the 18th century. In doing so, however, she was disappointed, as her pastel pictures were not given special attention in the mass of the offer. Labille-Guiard first exhibited a self-portrait miniature in watercolor and a life-size pastel entitled "Portrait of a Justice of the Peace" on August 25, 1774 at the exhibition of the Académie de Saint-Luc in Paris. There she met her future competitor Elisabeth Vigée-Lebrun . At first she made her living with miniatures and pastels. Many artists who were not admitted to the royal academy went to the Academie de Saint-Luc , founded in 1751 , in order to earn their living as a recognized painter. By the end there were 4,500 members, 130 of whom were women. To abolish competition, the royal academy obtained a royal decree to close the Academie de Saint-Luc in February 1776.

Anyone who wanted to survive as an artist now had to find their way into the royal academy . Since 1749 only oil paintings have been accepted for inclusion, which is why Labille-Guiard had to learn oil painting from then on. From 1776 she began to study oil painting again with her friend Vincent, who had meanwhile returned from Rome . Since she could not divorce her husband, she legally separated from him on July 27, 1779.

popularity

In addition to the newly learned oil technique, she continued to paint pastels, of which she exhibited a self-portrait, depicted with oil paints on the easel, in the Salon de la Correspondance in 1781, for which she received applause upon entering the room. Since she was not able to set up her own studio in the Louvre , which was usually also used as a classroom, she opened the first Paris women's school for painters as an additional source of income. Labille-Guiard's students D'Avril, Capet and Frémy exhibited their pictures in the exhibition De la Jeunesse in 1781. At the exhibition de la Jeunesse in 1783 she and her nine students received special attention. Her students included u. a. a Madame Lambert, Madame Gordrain, the miniature painter Marie-Thérèse de Noireterre (1760–1819), the portrait painter Jeanne Bernard (1763–1842), who later turned to genre painting, Mademoiselle Verrier, who exhibited in the Salon of 1786, and later Madame Maillard was called, as well as a Mademoiselle Alexandre, who was represented in the De la Jeunesse exhibitions in 1784 and 1786. In 1788, an aunt of the king ordered Labille-Guiard to take up a pomponne Hubert in exchange for a salar of 1200 pounds a year, which was reduced to 800 pounds in 1790 and paid until 1792.

From May 1, 1782 Labille-Guiard exhibited for two weeks in the Salon de la Correspondance . She 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 were now portrayed by her in a series of portraits, including the sculptor Pajou, for whose portrait she gained further fame. In June 1782, works by Labille-Guiard and Élisabeth Vigée-Lebrun were exhibited side by side in the Salon de la Correspondance . Thanks to her great success, the Swedish portraitist Alexander Roslin introduced Labille-Guiard to the Royal Academy in 1783 , to which, according to the statutes, a maximum of four women could belong. Roslin's late wife Marie Suzanne Giroust (1734–1772), with whom Labille-Guiard studied under Quentin de La Tour, was a member of the academy from 1770 until her death two years later. For the recording, Labille-Guiard had to submit two pictures, the pastel portrait by the sculptor Augustin Pajou and the oil portrait by the painter Amedée van Loo, which was only shown in an exhibition in 1785. At the same time, the academy showed several artist portraits of Labille-Guiards in an exhibition. After long deliberation, she was accepted into the royal academy with 29 votes out of a total of 36 on May 31, 1783, the same day as the painter Élisabeth Vigée-Lebrun.

The praise with which she was received in the Academy drawing room was disrupted by a scandal. A slanderous pamphlet entitled “Suite de Malborough au Salon 1783” accused Labille-Guiard, like Vigée-Lebrun later, of “sexual and ethical impropriety”. The anonymous writer claimed that she exhibited Vincent's work as her own. Besides the one with Vincent, she would have had two thousand affairs. By an accomplished letter on September 19 to the Countess d'Angiviller, who was both Labille-Guiard's patron and the wife of the director general of the royal buildings, the print was suppressed to her relief. Nevertheless, similar diatribes continued to circulate later. In 1785, her first almost life-size group portrait self-portrait was exhibited with two of her students, Marie-Gabrielle Capet and Marie-Marguerite-Carreaux de Rosemond . Mademoiselle Rosemond exhibited her works of art on Place Dauphine in 1783, 1784 and 1786 .

Adélaïde Labille-Guiard had her most successful years as a painter between 1785 and 1789, for example with portraits of Claude-Joseph Vernet (1785), Charles-Amédée-Philippe van Loo (1785), Mesdames Marie Adélaïde (1787), Victoire de Bourbon (1788 ) and Marie Louise Élisabeth de Bourbon (1788) daughters of Louis XV and of Élisabeth Philippine Marie Hélène de Bourbon (1788). In 1788, the Count of Provence, Louis Stanislas Xavier , commissioned the brother of Louis XVI. , Labille-Guiard, for a commission of 3,000 pounds to portray him in the center of a large group portrait measuring 5.18 × 4.27 meters and entitled Reception of a Knight of the Order of Saint-Lazare by the Grand Master of the Order , on which they two Years worked. During the French Revolution she was forced to reluctantly hand this over to be burned along with some of her other works of art on August 17, 1793. These hard-won royal connections made them politically suspect after 1789.

Revolution and last years of life

In Madame Vincent's studio around 1800, painted in 1808 by her pupil Marie-Gabrielle Capet . Oil on canvas, 69.0 × 83.5 cm

Amazingly, politics and the French Revolution did not affect their work. In 1789 she made a "patriotic donation" to the National Assembly . As once the princesses and aristocrats, the new rulers, the members of the National Assembly, above all Maximilien Robespierre , had themselves portrayed by Adélaïde Labille-Guiard. In 1791 she exhibited thirteen pastel paintings by representatives of the National Assembly. She has also advocated women's right to artistic activity. In a speech at the academy, she called for women to be admitted without restrictions. The motion was then accepted, but canceled again after the revolution. As radical forces gained more and more control over the revolution, Labille-Guiard increasingly withdrew from the public.

This probably contributed to the fact that she was able to survive the revolution well. Until 1795 she lived with her friend Vincent, his brother Marie-Alexandre-Francois Vincent and two of their pupils Marie-Gabrielle Capet and Marie-Victoire d'Avril in a house in Pontault-en-Brie that they bought together on March 8, 1792 . Due to the new liberal marriage law, she was able to divorce her first husband on May 12, 1793. After they all returned to Paris together, Labille-Guiard received a pension in 1795 and was the first woman to be allowed to move into a studio in the Louvre, where she could continue to work with her students, Capet and d'Avril.

In the last years of her life she sporadically exhibited pictures in salons, the last in the salon of 1800. On June 8, 1800 (19 prairial to VIII) she finally married, now at the age of fifty-one, in the presence of her friends Capet and d'Avril, her childhood friend, the painter François André Vincent and in the end only signed with “Madame Vincent”. She painted one of her last, not exhibited works of art, Portrait of the Family, in 1801. During her long illness, Marie Capet cared for her in Paris until her death in 1803.

Works

gallery
L'heureuse surprise, pastel, 1779
Madame Clodion / Flore Pajou (1764–1841), 1783
Madame Alexis, 1787
Madame de Selve faisant de la musique , 1787
Marie-Louise-Thérèse-Victoire de France, 1788
Study by her student Marie-Gabrielle Capet, 1789
Portrait of Joachim Lebreton, 1795
The comedian Tournelle, called Dublin, 1799

Adélaïde Labille-Guiard not only had a great career herself, but also worked resolutely and successfully for the interests of other women painters in order to improve their career opportunities. However, Labille-Guiard's reputation has been overshadowed by that of her contemporary, the painter Élisabeth Vigée-Lebrun . Her works fell into disrepute after her death. For example, the pastel portrait of Joseph-Marie Vien , which was auctioned after Vincent's death in 1816, only sold for 38 francs. Only in the context of an art history interested in gender history with regard to women in art was the quality of their work made aware again. The Louvre has the largest collection of her works ; Unfortunately, however, Labille-Guiard is not represented in a 683-page and richly illustrated monograph on the Louvre by Lawrence Gowing. More of her pictures can be found in 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 at Versailles Palace . The life-size self-portrait with her students, Marie-Gabrielle Capet and Carreaux de Rosemond from 1785 hangs today in the Metropolitan Museum in New York.

literature

  • Laura Auricchio: Adelaide Labille-Guiard. Artist in the Age of Revolution. Getty Publications, Los Angeles CA 2009, ISBN 978-0-89236-954-6 .
  • Frances Borzello: Seeing ourselves. Women's self-portraits. Thames & Hudson, London 1998, ISBN 0-500-01836-7 .
  • Whitney Chadwick: Women, art and society. 4th edition. Thames & Hudson, London 2007, ISBN 0-500-20393-8 .
  • Christie's catalog, December 7, 1995.
  • Lawrence Gowing : The Louvre Painting Collection. With an introduction by Michel Laclotte. DuMont, Cologne 1988, ISBN 3-7701-2168-6 (also: ibid 2001, ISBN 3-7701-8660-5 ).
  • Germaine Greer : The suppressed talent. The role of women in the visual arts. Translated from the English by Rainer Redies and Ingrid Krüger. Ullstein, Berlin et al. 1980, ISBN 3-550-07688-6 .
  • Nancy G. Heller: Women artists. An illustrated history. 4th edition. Abbeville Press Publishers, New York NY et al. 2003, ISBN 0-7892-0345-6 .
  • Edith Krull: Women in art. Studio Vista, London 1989, ISBN 0-289-80019-6 .
  • Anne Marie Passez: Adélaïde Labille-Guiard. (1749-1803). Biography et catalog raisonné de son œuvre. Arts et métiers graphiques, Paris 1973
    • English edition: Adelaide Labille-Guiard, Catalog Raisonne, Her Life & Her Work, 1749–1803. Frances Schram, sl 1982, ISBN 0-8390-0321-8 .
  • Rozsika Parker, Griselda Pollock : Old Mistresses. Women, Art, and Ideology. Pandora Press, London 1995, ISBN 0-86358-185-4 .
  • Roger Portalis: Adélaïde Labille-Guiard. (1749-1803). Georges Petit, Paris 1902, ( digitized ).
  • Mary D. Sheriff: The Exceptional Woman. Elisabeth Vigee Le Brun and the Cultural Politics of Art. University of Chicago Press, Chicago IL et al. 1996, ISBN 0-226-75275-5 .
  • Ann Sutherland Harris, Linda Nochlin : Women Artists. 1550-1950. Los Angeles County Museum of Art et al., Los Angeles CA et al. 1976, ISBN 0-87587-073-2 .

Individual evidence

  1. ↑ Laura Auricchio: Adelaide Labille-Guiard. 2009, p. 8, (Chapter: “Communities”).
  2. ^ Joachim Lebreton: Necrology. Notice on Madame Vincent, nee Labille, peintre. Chaignieau, Paris 1803.
  3. ↑ Laura Auricchio: Adelaide Labille-Guiard. 2009, p. 11, (Chapter: “Communities”).
  4. ^ A b c Germaine Greer: The suppressed talent. 1980, p. 262.
  5. ↑ Laura Auricchio: Adelaide Labille-Guiard. 2009, p. 5, (“Paintings in the Margins”).
  6. ↑ Laura Auricchio: Adelaide Labille-Guiard. 2009, p. 24, (Chapter: “Commerce and Curiosity”).
  7. ↑ Germaine Greer: The suppressed talent. 1980, p. 263.
  8. ↑ Jules Guiffrey : La communauté des peintres et sculpteurs parisiens, dite académie de Saint-Luc (1391–1776). In: Journal des Savants . Nouvelle Série, Vol. 13, 1915, pp. 145–155, here p. 155 .
  9. ^ Entry as a painter of pastels and miniatures in Abbé Lebruns: Almanach historique et raisonné des architectes, peintres, sculpteurs, graveurs et ciseleurs. 1776, ZDB -ID 799044-3 , p. 115.
  10. ↑ Germaine Greer: The suppressed talent. 1980, p. 264.
  11. ^ Eva Kernbauer: The place of the audience. Models for the art public in the 18th century (= studies on art. 19). Böhlau, Cologne et al. 2011, ISBN 978-3-412-20555-3 , p. 255.
  12. ↑ a b c d Germaine Greer: The suppressed talent. 1980, p. 266.
  13. ↑ Germaine Greer: The suppressed talent. 1980, p. 265.
  14. ↑ Laura Auricchio: Adelaide Labille-Guiard. 2009, p. 18, (Chapter: “Commerce and Curiosity”).
  15. ↑ Laura Auricchio: Adelaide Labille-Guiard. 2009, p. 28, (Chapter: “Commerce and Curiosity”, last section).
  16. ↑ Gottfried Sello : Adélaide Labille-Guiard. In: Gottfried Sello: painters from five centuries. Ellert & Richter, Hamburg 1988, ISBN 3-89234-077-3 , p. 48 ff.
  17. ↑ Laura Auricchio: Adelaide Labille-Guiard. 2009, pp. 35–36, (Chapter: “Notice, Networks, and Notoriety 1783–1787”).
  18. ↑ Germaine Greer: The obstacle race. The fortunes of women painters and their work. Taurus Parke, London et al. 2001, ISBN 1-86064-677-8 , p. 100.
  19. ↑ (Directeur-général des bâtiments du roi)
  20. ↑ a b c d Germaine Greer: The suppressed talent. 1980, p. 268.
  21. ↑ Annemarie Passez: Adélaïde Labille-Guiard. 1973, p. 42.
  22. ↑ Neil Jeffares: Adélaïde Labille-Guiard. In: Neil Jeffares: Dictionary of pastellists before 1800. Unicorn Press, London 2006, ISBN 0-906290-86-4 .
  23. ↑ Louvre ( Memento of August 17, 2012 in the Internet Archive ) (French)
  24. ↑ Vigée-Lebrun, too, only through a single portrait of the painter Hubert Robert. See: Lawrence Gowing: The Louvre Painting Collection. 1988.
  25. ^ Getty Center ( Memento of July 13, 2010 in the Internet Archive )
  26. ↑ Harvard University Art Museum ( Memento from April 12, 2011 in the Internet Archive )
  27. ↑ Search result ( Memento from July 7, 2012 in the web archive archive.today )
  28. ↑ Search result ( Memento from August 5, 2012 in the web archive archive.today )
  29. ^ The National Museum of Women in the Arts
  30. ↑ Versailles
  31. ↑ Metropolitan Museum of Art (Engl.)

Web links

Commons : Adélaïde Labille-Guiard  - Collection of images, videos and audio files
personal data
SURNAME Labille-Guiard, Adelaide
ALTERNATIVE NAMES Labille-Guiard-Vincent, Adélaïde; Labille-Guiard, Adelaide; Labille, Madame Vincent
BRIEF DESCRIPTION French painter
DATE OF BIRTH April 11, 1749
PLACE OF BIRTH Paris
DATE OF DEATH April 24, 1803
Place of death Paris