Just for the level of success she achieved in 18th century society she deserves to be mentioned with the canons of her generation. Labille-Guiard has positioned herself in the middle of the canvas dressed as an aristocratic lady in a very fashionable, low-cut, satin dress, powdered hair and hat with bows and feathers.
Labille-Guiard composed her portraits like large scale history paintings. She did not have a royal patron like Vigee-LeBrun nor did she have the privileges accorded a full academician of a salary. Her work was so exceptional that some believed it was actually painted by her lover.
She has shown an incredible mastery with her paints while depicting all the different light effects and textures. She was considered to be one step away from a history painter. She even painted a portrait of Maximilien Robespierre. They could not conceive of such mastery in a female. Not only was Labille-Guiard an exceptional artist but she was also an astute promoter.
She was training female artists at her studio but she also needed to attract wealthy patrons.
According to Laura Auricchio, her pose and costume would have been instantly recognizable as the images from the published fashion plates that were so popular among the elite audience of fashionable women who were also very desirable patrons.
She went on to describe what a stain on her honor would do to her old lonely father. With a little female intervention, action was taken to arrest and interrogate the printer and seize the pamphlets. Before she was admitted as an academician she exhibited a series of pastel portraits of the most prominent academicians including the director at the Salon de la Correspondence a commercial exhibition which must have drawn enough attention for them to be familiar with her name.
The intricacies of her dress are portrayed so realistically that the seams and even the wrinkles are very obvious.
She is claiming this is her studio and she is being watched over by her father and the Virgin. But being the ever-resourceful woman that she was, she wrote to the wife of the director asking her to intervene on her behalf. She engages the viewer by placing them in the position of the subject that she is painting.
In this huge canvas we see an artist working at her easel as her two pupil look-on with admiration.Adélaïde Labille-Guiard studied painting with François-Élie Vincent and then his son, François-André Vincent, to whom she was later married.
Adélaïde Labille-Guiard. Self-Portrait with Two Pupils, The Metropolitan Museum of Art, New York. Related Place Setting. Artemisia Gentileschi. When Adélaïde Labille-Guiard exhibited this life-sized Self-Portrait with Two Pupils at the Salon sponsored by the Parisian Royal Academy of Painting and Sculpture inshe was making a daring bid for patronage.
Self-Promotion in Ad?la?de Labille-Guiard's Self-Portrait with Two Students Laura Auricchio When Ad?la?de Labille-Guiard () submitted her. Which artist's portrait of Paul Revere is indicative of the artist's more realistic, early style, which would later become more ornate?
Adélaïde Labille-Guiard: Self-Portrait with Two Pupils, Marie Gabrielle Capet (–) and Marie Marguerite Carreaux de Rosemond (died ) Artist Adélaïde Labille-Guiard (–).
Adélaïde Labille–Guiard, Self–Portrait with Two Pupils, Mademoiselle Marie Gabrielle Capet (–) and Mademoiselle Carreaux de Rosemond (died ),Oil on canvas, 83 x 59 1/2 inches A number of years ago a well-known and influential New York art gallerist was brought to my studio by a private dealer I’d been working with.Download