{"id":1360,"date":"2025-01-11T18:11:36","date_gmt":"2025-01-11T17:11:36","guid":{"rendered":"https:\/\/lesgrandesdames.fr\/?p=1360"},"modified":"2025-01-11T18:13:49","modified_gmt":"2025-01-11T17:13:49","slug":"elisabeth-vigee-le-brun-1755-1842-le-scandale-au-bout-du-pinceau","status":"publish","type":"post","link":"https:\/\/lesgrandesdames.fr\/index.php\/2025\/01\/11\/elisabeth-vigee-le-brun-1755-1842-le-scandale-au-bout-du-pinceau\/","title":{"rendered":"\u00c9lisabeth Vig\u00e9e Le Brun (1755-1842) : le scandale au bout du pinceau"},"content":{"rendered":"\t\t<div data-elementor-type=\"wp-post\" data-elementor-id=\"1360\" class=\"elementor elementor-1360\">\n\t\t\t\t<div class=\"elementor-element elementor-element-894a8fc e-flex e-con-boxed wpr-particle-no wpr-jarallax-no wpr-parallax-no wpr-sticky-section-no e-con e-parent\" data-id=\"894a8fc\" data-element_type=\"container\" data-core-v316-plus=\"true\">\n\t\t\t\t\t<div class=\"e-con-inner\">\n\t\t\t\t<div class=\"elementor-element elementor-element-9974b17 elementor-widget elementor-widget-text-editor\" data-id=\"9974b17\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<style>\/*! elementor - v3.20.0 - 26-03-2024 *\/\n.elementor-widget-text-editor.elementor-drop-cap-view-stacked .elementor-drop-cap{background-color:#69727d;color:#fff}.elementor-widget-text-editor.elementor-drop-cap-view-framed .elementor-drop-cap{color:#69727d;border:3px solid;background-color:transparent}.elementor-widget-text-editor:not(.elementor-drop-cap-view-default) .elementor-drop-cap{margin-top:8px}.elementor-widget-text-editor:not(.elementor-drop-cap-view-default) .elementor-drop-cap-letter{width:1em;height:1em}.elementor-widget-text-editor .elementor-drop-cap{float:left;text-align:center;line-height:1;font-size:50px}.elementor-widget-text-editor .elementor-drop-cap-letter{display:inline-block}<\/style>\t\t\t\t<p><span style=\"font-weight: 400;\">En septembre 1783, le Salon de peinture et de sculpture d\u00e9voile \u00e0 la cour du roi Louis\u00a0XVI les \u0153uvres des artistes les plus talentueux de leur temps. Organis\u00e9 chaque ann\u00e9e au palais du Louvre par l\u2019Acad\u00e9mie royale de peinture et de sculpture, cet \u00e9v\u00e9nement majeur permet aux artistes officiels, c\u2019est-\u00e0-dire aux \u00e9l\u00e8ves de la prestigieuse institution, de pr\u00e9senter une ou plusieurs toiles de leurs cr\u00e9ations. C\u2019est une occasion en or de se faire remarquer par des acheteurs fortun\u00e9s et obtenir des commandes.<\/span><\/p><p><span style=\"font-weight: 400;\">Pour la premi\u00e8re fois, \u00c9lisabeth Vig\u00e9e Le Brun est invit\u00e9e \u00e0 pr\u00e9senter un de ses tableaux. \u00c0 seulement vingt-huit ans, elle a d\u00e9j\u00e0 une brillante carri\u00e8re derri\u00e8re elle. Depuis 1778, elle est la portraitiste officielle de la reine Marie-Antoinette, un r\u00f4le tr\u00e8s convoit\u00e9. Le tableau qu\u2019elle a choisi d\u2019exposer, <\/span><i><span style=\"font-weight: 400;\">Marie-Antoinette en gaulle, <\/span><\/i><span style=\"font-weight: 400;\">trouble les visiteurs venus admirer la souveraine. L\u2019artiste a os\u00e9 repr\u00e9senter la premi\u00e8re dame du royaume en robe de mousseline, un v\u00eatement d\u2019int\u00e9rieur qu\u2019il est ind\u00e9cent de voir porter par la reine en public. L\u2019audace de l\u2019artiste est un coup de ma\u00eetre. D\u00e9sormais, on ne parle que d\u2019elle et du scandale provoqu\u00e9 par son portrait\u2009!<\/span><\/p><p><span style=\"font-weight: 400;\">\u00c9lisabeth Vig\u00e9e Le Brun, en tant que femme, ne pouvait acc\u00e9der \u00e0 l\u2019enseignement artistique, les cours \u00e9tant r\u00e9serv\u00e9s aux hommes. Seul son fort temp\u00e9rament lui a permis de s\u2019imposer dans un milieu essentiellement masculin. Pourtant, en 1783, trois femmes furent autoris\u00e9es \u00e0 exposer au Salon. \u00c0 ses c\u00f4t\u00e9s, Ad\u00e9la\u00efde Labille Guiard et Anne Vallayer Coster re\u00e7urent un accueil mitig\u00e9. Les femmes peintres \u00e9taient souvent jug\u00e9es sans talent, alors, pourquoi ne pas provoquer les esprits en proposant une \u0153uvre choquante\u2009?<\/span><\/p><p><span style=\"font-weight: 400;\">De guerre lasse, \u00c9lisabeth Vig\u00e9e Le Brun retire son tableau pour en proposer un plus acad\u00e9mique, <\/span><i><span style=\"font-weight: 400;\">Marie-Antoinette \u00e0 la rose. <\/span><\/i><span style=\"font-weight: 400;\">Elle a rhabill\u00e9 la reine en robe de satin bleu pour ne pas froisser messieurs les censeurs, malgr\u00e9 tout satisfaite d\u2019avoir gagn\u00e9 la plus belle des batailles, celle d\u2019\u00eatre devenue c\u00e9l\u00e8bre. La notori\u00e9t\u00e9 lui assure le succ\u00e8s et, dans son atelier, les commandes s\u2019accumulent. Cependant, elle dut surmonter de nombreuses difficult\u00e9s avant de vivre pleinement de son art.<\/span><\/p><p><span style=\"font-weight: 400;\">Issue d\u2019un milieu bourgeois, \u00c9lisabeth Vig\u00e9e Le Brun re\u00e7ut un enseignement strict et complet aupr\u00e8s des s\u0153urs du couvent de la Trinit\u00e9, dans le Faubourg Saint-Antoine. Son p\u00e8re, Louis Vig\u00e9e, pastelliste de son \u00e9tat et membre de l\u2019Acad\u00e9mie de Saint-Luc, d\u00e9cela tr\u00e8s t\u00f4t le talent de sa fille pour la peinture. Il fut son premier ma\u00eetre avant de mourir accidentellement en 1767. Apr\u00e8s son d\u00e9c\u00e8s, l\u2019\u00e9ducation artistique d\u2019\u00c9lisabeth fut\u00a0<\/span><span style=\"font-weight: 400;\">confi\u00e9e au peintre Gabriel Fran\u00e7ois Doyen, un ami de la famille. Par la suite, elle suivit \u00e9galement les le\u00e7ons de Gabriel Briard, qui lui ouvrirent les portes de l\u2019Acad\u00e9mie de Saint-Luc. Se rendant fr\u00e9quemment au palais du Louvre, elle copia les \u0153uvres des artistes qu\u2019elle admirait comme, Rembrandt et Van Dyck.<\/span><\/p><p><span style=\"font-weight: 400;\">En 1776, elle \u00e9pouse un marchand d\u2019art, Jean-Baptiste-Pierre Le Brun qui croit en son talent et la soutient, en lui pr\u00e9sentant une client\u00e8le de connaisseurs. En 1780, elle donne naissance \u00e0 sa fille unique, Julie Le Brun, qui deviendra peintre \u00e0 son tour. C\u2019est \u00e0 cette \u00e9poque qu\u2019elle r\u00e9alise son autoportrait avec sa fille, une \u0153uvre qui attire la sympathie de la duchesse Marie-Ad\u00e9la\u00efde de\u00a0Bourbon qui lui pr\u00e9sente la reine Marie-Antoinette. Entre les deux femmes du m\u00eame \u00e2ge s\u2019installe une belle amiti\u00e9 qui aboutit \u00e0 la cr\u00e9ation d\u2019une trentaine de portraits. Une collaboration fructueuse interrompue par la R\u00e9volution fran\u00e7aise. Contrainte \u00e0 la fuite, la portraitiste de la reine s\u2019exile en Italie, entamant une carri\u00e8re europ\u00e9enne.<\/span><\/p><p><span style=\"font-weight: 400;\">Royaliste convaincue, \u00c9lisabeth Vig\u00e9e Le Brun continue d\u2019exercer ses talents dans les plus grandes cours d\u2019Europe\u00a0: Rome, Naples, Saint-P\u00e9tersbourg, Moscou ou Vienne. Elle meurt en France en 1842, o\u00f9 elle \u00e9tait revenue s\u2019installer apr\u00e8s son long exil. Elle ne se remit jamais de la chute de la royaut\u00e9, ne trouvant plus sa place dans ce monde nouveau o\u00f9 empire et r\u00e9publique se disputaient le pouvoir.<\/span><\/p><h5 id=\"blog-post-title\" class=\"blog-post-title\" data-blog-id=\"50203697047\" data-maturity-level=\"Informationnel\"><span id=\"hs_cos_wrapper_name\" class=\"hs_cos_wrapper hs_cos_wrapper_meta_field hs_cos_wrapper_type_text\" data-hs-cos-general-type=\"meta_field\" data-hs-cos-type=\"text\">\u00a9Audrey Marty<\/span><\/h5><h5>Correctrice : Isabelle B\u00e9nard<\/h5>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"<p>En septembre 1783, le Salon de peinture et de sculpture d\u00e9voile \u00e0 la cour du roi Louis\u00a0XVI les \u0153uvres des artistes les plus talentueux de leur temps. Organis\u00e9 chaque ann\u00e9e au palais du Louvre par l\u2019Acad\u00e9mie royale de peinture et de sculpture, cet \u00e9v\u00e9nement majeur permet aux artistes officiels, c\u2019est-\u00e0-dire aux \u00e9l\u00e8ves de la prestigieuse [&hellip;]<\/p>\n","protected":false},"author":23,"featured_media":1361,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[24],"tags":[105,106,104],"class_list":["post-1360","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-art","tag-art","tag-audace","tag-pouvoir"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v22.3 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>\u00c9lisabeth Vig\u00e9e Le Brun (1755-1842) : le scandale au bout du pinceau - Les Grandes Dames<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/lesgrandesdames.fr\/index.php\/2025\/01\/11\/elisabeth-vigee-le-brun-1755-1842-le-scandale-au-bout-du-pinceau\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u00c9lisabeth Vig\u00e9e Le Brun (1755-1842) : le scandale au bout du pinceau - Les Grandes Dames\" \/>\n<meta property=\"og:description\" content=\"En septembre 1783, le Salon de peinture et de sculpture d\u00e9voile \u00e0 la cour du roi Louis\u00a0XVI les \u0153uvres des artistes les plus talentueux de leur temps. 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