Leo Martínez
Charles Le Brun was a dominant figure in 17th-century French art, serving as a court painter to Louis XIV, who declared him the greatest French artist of all time. Le Brun's career began at the age of eleven when he entered the studio of Simon Vouet, where he caught the attention of his first patron, Chancellor Séguier. Le Brun's talent was quickly recognised, and he received his first royal commission from Louis XIV in 1661. He was also the driving force behind the establishment of the French Royal Academy of Painting and Sculpture in 1648. Élisabeth Louise Vigée Le Brun, on the other hand, was a French painter who specialised in portrait painting in the late 18th and early 19th centuries. She was encouraged to pursue art by her father, who was also a painter, and by her mother, who provided her with art materials and took her to view private and royal collections. By the age of fifteen, she had already developed a modest clientele for her portraits.
| Characteristics | Values |
|---|---|
| Age when training began | 11 |
| First patron | Chancellor Séguier |
| Training | Classical and Baroque styles |
| Teachers | Simon Vouet, Nicolas Poussin, Guillaume Perrier, François Perrier |
| Age when received first commissions | 15 |
| Important patrons | Nicholas Fouquet, Cardinal Mazarin, Colbert |
| Royal patron | Louis XIV |
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What You'll Learn
Training from father, Louis Vigée
Élisabeth Louise Vigée Le Brun, born in Paris in 1755, was the daughter of Jeanne (née Maisin), a hairdresser, and Louis Vigée, a portraitist, pastellist, and member of the Académie de Saint-Luc. From a young age, Élisabeth exhibited artistic inclinations, sketching a bearded man at the age of seven or eight. Her father, recognising her talent, exclaimed, "You will be a painter, my child, if there ever was one," and began providing her with art lessons.
Louis Vigée's encouragement and training played a pivotal role in Élisabeth's artistic development. He granted her access to his studio, allowing her to explore her creativity and hone her skills. This early exposure to artistic tools and techniques laid the foundation for her future success.
Under her father's guidance, Élisabeth refined her artistic abilities and developed her unique style. She learned various aspects of painting, including preparing a palette, which was taught to her by Pierre Davesne, whom she met at her father's home. Additionally, she had the opportunity to copy drawings and sculptures while studying at the home of academician Gabriel Briard.
Louis Vigée's support extended beyond just technical training. He celebrated her talent and encouraged her to continue her artistic studies despite the limitations she faced as a woman in accessing formal training. When Élisabeth's father passed away in 1767, it was a significant loss both personally and professionally. Despite this setback, Élisabeth persevered, and her determination, coupled with her father's early encouragement, set her on the path to becoming one of the greatest portraitists of her time.
Élisabeth Louise Vigée Le Brun's rapid rise to fame and success as a painter can be attributed in large part to the foundational training and unwavering support she received from her father, Louis Vigée. His influence not only shaped her artistic abilities but also fostered the confidence and determination necessary to navigate the challenges of being a woman in the male-dominated world of art.
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Encouraged by mother, Jeanne Maissin
Élisabeth Louise Vigée Le Brun, born in Paris in 1755, was encouraged to pursue painting by her mother, Jeanne Maissin. Jeanne was a hairdresser from a peasant background, and Le Brun's father, Louis Vigée, was a pastelist and member of the artists' guild, the Académie de Saint-Luc.
Le Brun's father recognized her natural artistic ability at a young age and began giving her art lessons. However, he passed away when she was twelve, which was a significant loss for her, both personally and professionally. Despite this setback, Le Brun's mother, Jeanne, continued to encourage her artistic pursuits. Jeanne provided her daughter with art materials and accompanied her to private collections and art galleries, such as the Palais du Luxembourg and Palais Royale, where she could study the royal collection.
Jeanne also encouraged Le Brun to marry the art dealer Jean-Baptiste Pierre Le Brun in 1776. This connection to the art world through her husband may have provided further encouragement and support for Le Brun's artistic career. By the time she was fifteen, Le Brun had already developed a modest clientele for her portraits, and her works gained widespread attention by the time she was nineteen.
Le Brun's talent and dedication to her craft ultimately led to her becoming the favoured painter of Marie Antoinette in her twenties. She also gained the patronage of European aristocrats, actors, and writers, solidifying her success and reputation as one of the greatest portraitists of her time.
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Noticed by Chancellor Séguier
Charles Le Brun, born in Paris, France, in 1619, was an artistic prodigy. At the age of eleven, he was training in the studio of Simon Vouet, where his equestrian portrait masterpiece caught the attention of Chancellor Séguier, his first patron. Chancellor Séguier placed Le Brun under the tutelage of the painter Guillaume Perrier, and later with Simon Vouet. Le Brun also trained with François Perrier. At the age of fifteen, he received commissions from Cardinal Richelieu, which he executed with such skill that he earned the admiration of Nicolas Poussin, with whom he travelled to Rome in 1642.
In Rome, Le Brun spent four years studying ancient Roman sculpture, making copies of Raphael's works, and absorbing the influence of local painters. He learned from Poussin, adapting the latter's theories of art, and also studied under Pietro da Cortona. During his time in Rome, Le Brun was supported by a pension from the chancellor. Upon his return to Paris in 1646, he gained numerous patrons, including Nicholas Fouquet, for whom he painted a large portrait of Anne of Austria. Le Brun's work for Fouquet at Vaux-le-Vicomte and the Apollo Gallery in the Louvre established his reputation at Versailles.
Le Brun's talent and skill in painting and design led him to become the arbiter of artistic production in France during the last half of the 17th century. He personally created or supervised the production of most of the paintings, sculptures, and decorative objects commissioned by the French government during the reign of Louis XIV. Le Brun entered the service of King Louis XIV in 1647 as "Painter and Valet de Chambre". He painted "The Family of Darius before Alexander" in 1660, which earned him a reputation as a French painter of genius. This led to his promotion to First Painter to the King in 1664, and he received an increasing number of commissions and honours.
Le Brun's influence extended beyond his own artistic creations, as he played a pivotal role in establishing the French Royal Academy of Painting and Sculpture in 1648. He was elected as one of the original twelve elders responsible for managing the academy. He held various positions within the academy, including chancellor, rector, and director, further solidifying his dominant role in shaping French art during that period.
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Studied under Simon Vouet
Charles Le Brun (1619-1690) was an influential French painter, physiognomist, art theorist, and director of several art schools. He was an artistic prodigy, displaying prodigious talent from a remarkably early age. At the age of eleven, he was placed in the studio of Simon Vouet, a leading painter who had brought the Italian Baroque style to Paris. Vouet's dynamic compositions and rich colour palettes undoubtedly influenced the young artist.
Under Vouet, Le Brun learned the Baroque style, which he later synthesised with the Classical training he received from Nicolas Poussin. In 1642, Le Brun travelled to Rome with Poussin, where he studied ancient Roman sculpture, made copies of Raphael's works, and absorbed the influence of contemporary Baroque painters. This synthesis of styles equipped him with the theoretical and practical knowledge to dominate the French art world.
Le Brun's talent and ambition, combined with the connections he fostered during his training, led to numerous commissions upon his return to Paris in 1646. He received commissions for religious paintings and decorative schemes for private residences, such as the Hôtel Lambert, where his work rivalled that of his former master, Vouet. Le Brun's work caught the attention of Cardinal Richelieu, who commissioned him at the age of fifteen. This early success led to further important patrons, including Nicholas Fouquet, for whom he painted a large portrait of Anne of Austria.
Le Brun's career continued to flourish, and he became the driving force behind the establishment of the French Royal Academy of Painting and Sculpture in 1648. He held various positions within the academy, including chancellor, rector, and director. Le Brun was also instrumental in the creation of the Gobelins manufactory in 1660, which produced furniture and tapestries for royal palaces. Through these institutions, he dictated artistic standards and controlled major royal commissions, leaving an indelible imprint on all artistic production in France during his lifetime.
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Patronage of Cardinal Richelieu
Charles Le Brun was a French painter, physiognomist, art theorist, and director of several art schools. He was also a court painter to Louis XIV, who declared him "the greatest French artist of all time". Le Brun's talent was in harmony with the taste of the King, and he was a dominant figure in 17th-century French art.
Le Brun's career was influenced by several patrons, including Cardinal Richelieu, Cardinal Mazarin, and Nicolas Fouquet. At the age of fifteen, Le Brun received commissions from Cardinal Richelieu, displaying an ability that earned him the praise of Nicolas Poussin. Le Brun's work for Cardinal Richelieu included an allegory in honour of the cardinal, depicting the figure of Fame unveiling Richelieu seated on his throne, with the figure of Religion beside him. The composition is remarkable for its degree of finish and detail, as well as the pleasing figural proportions of Mars and Apollo.
Cardinal Richelieu, born Armand-Jean du Plessis, was a powerful political figure in France during the early 17th century. He served as a minister to King Louis XIII and was known for his intelligence and political skill. Richelieu rose to power in 1619 when he successfully mediated between the king and Marie de Médici, the queen mother, during a period of aristocratic rebellion. In 1622, he was nominated for a cardinalate by the king and was granted the position by Pope Gregory XV. As a cardinal, Richelieu continued to play a central role in French politics, negotiating treaties and consolidating power for the king. He was also known for his patronage of the arts and founded the Académie Française, a learned society dedicated to the French language.
Le Brun's association with Cardinal Richelieu provided him with important commissions and connections that contributed to his development as an artist. The patronage of Cardinal Richelieu, along with that of other influential figures, helped establish Le Brun's reputation and facilitated his rise to become a prominent figure in French art during the 17th century.
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Frequently asked questions
Élisabeth Louise Vigée Le Brun was encouraged to pursue painting by her father, Louis Vigée, a pastelist and member of the Académie de Saint-Luc. He noticed her artistic inclinations from a young age and began giving her lessons in art.
Le Brun's mother, Jeanne Maissin, also encouraged her by providing her with art materials and taking her to private collections and galleries to study royal collections.
Le Brun did not have access to formal training as a woman. However, she received some training from her father and, after his death, she was able to access his studio. She also copied drawings and sculptures at the home of academician Gabriel Briard.
Le Brun's talent was recognised early on, and by the age of 15, she had already developed a modest clientele for her portraits. By the time she was 19, her works had gained significant attention, and she went on to become the favoured painter of Marie-Antoinette.
