Elena Rossi
Adélaïde Labille-Guiard's Self-Portrait with Two Pupils is an oil painting on canvas created in 1785. It depicts the French artist herself at her easel, along with two of her female students, Fanny de la Chaise and Madame Sophie de Monnier, who were also aspiring artists. The painting is almost life-size and is currently on display at the Metropolitan Museum of Art in New York City.
| Characteristics | Values |
|---|---|
| Artist | Adélaïde Labille-Guiard |
| Date | 1785 |
| Medium | Oil on canvas |
| Dimensions | 83 x 59 1/2 in. (210.8 x 151.1 cm) |
| Subjects | Adélaïde Labille-Guiard, Marie-Gabrielle Capet, and Marie-Marguerite Carreaux de Rosemond |
| Significance | Challenges societal norms and defies the dominance of male artists in the 18th century |
| Interpretation | Represents Labille-Guiard's skills and the spirit of solidarity among women artists |
| Current Location | The Metropolitan Museum of Art, New York City |
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What You'll Learn
Adélaïde Labille-Guiard's artistic training
Adélaïde Labille-Guiard, born in Paris in 1749, was a celebrated female artist in 18th-century France. She was a miniaturist and portrait painter, and an advocate for women to receive the same opportunities as men to become great painters.
Little is known about Labille-Guiard's artistic training due to the practices of the 18th century, which dictated that masters (who were predominantly male) should not take on female pupils. However, it is known that she studied miniature painting with oil painter François-Élie Vincent during her adolescence, and her early work was exhibited at the Académie de Saint-Luc. She married Louis-Nicolas Guiard in 1769 but separated from him eight years later, having gained financial independence through her artwork.
From 1774 to 1776, Labille-Guiard apprenticed with the pastel master Quentin de la Tour. She then began to study oil painting with her childhood friend François-André Vincent (the eldest son of François-Élie Vincent), who would later become her second husband. Labille-Guiard was admitted to the Académie de Saint-Luc in 1767 when she was twenty years old, and her work was exhibited at its Salon in 1774. This show was so successful that the Royal Academy took offence and forced the Académie de Saint-Luc to close its doors in 1777.
Undeterred, Labille-Guiard continued her artistic training and began to learn oil painting so she could apply to the Royal Academy, which required at least one oil painting for admission. She painted several portraits of leading academicians, creating contacts with the Académie royale de peinture et de sculpture. She exhibited her work at the Salon de la Correspondance in 1779 and 1783, including self-portraits and oil portraits, which were well-received by critics.
In 1783, Labille-Guiard was accepted as a member of the French Académie Royale de Peinture et de Sculpture, along with her rival, Élisabeth-Louise Vigée Le Brun. She gained patronage from the royal family, including Princess Marie Adélaïde, her sister Victoria Louise, and the King's sister, Elizabeth. She also received a government pension of 1,000 livres. In 1787, she became the official painter to Louis XVI's aunts, the Mesdames Adélaïde and Victoire, and exhibited several portraits of prominent members of the Assemblée Nationale.
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The painting's creation and composition
Adélaïde Labille-Guiard's Self-Portrait with Two Pupils was created in 1785 and is an important work in the history of art, particularly for female artists. The painting is oil on canvas and is almost life-size, measuring 83 x 59 1/2 inches (210.8 x 151.1 cm). It depicts Labille-Guiard at her easel, painting, with two of her female students, Fanny de la Chaise and Madame Sophie de Monnier, who were also aspiring artists. The two young women are shown intent on their studies, observing what their teacher is demonstrating.
The composition of the painting highlights the relationships between women in art and emphasizes the role of mentorship and collaboration. The inclusion of her pupils in the work not only celebrates female talent but also illustrates the importance of teaching and supporting future generations of women artists. Labille-Guiard's work with her pupils also created a supportive community for female artists, as she actively contributed to their training and encouragement. This sense of community is further reflected in the painting's composition, with the figures arranged in a triangular formation, conveying a sense of unity and connection.
The painting's composition also draws attention to the artistic process and the complexities of composition. The palette in Labille-Guiard's hand, the box of paints to her right, and the other artistic tools depicted, such as the porte-crayon and scroll of paper or canvas on the stool in the foreground, all emphasize the act of creation. The composition also suggests that Labille-Guiard may have been painting the very artwork the observer sees, with the easel positioned to the left, and the suggestion that she and one of her pupils are looking at a mirror.
The clothing and accessories depicted in the painting are also noteworthy. The marked variation in attire between Labille-Guiard and her more plainly dressed pupils helps to differentiate her as the master artist. Her beautiful dress and beribboned straw hat are rich in colour and complex in execution, with Labille-Guiard taking care to describe the reflection of the blue fabric in the parquet at her feet. The hairpieces and lush folds of cloth contribute to the overall glamour of the painting.
The creation of Self-Portrait with Two Pupils involved meticulous attention to detail, with Labille-Guiard capturing the visual essence of each texture in the room. She rendered the soft and youthful facial features of her pupils and herself with incredible precision, their skin possessing a gentle, rosy hue, and their eyes shining with small glimmers of light. Even slight wisps of hair seem to dance free from the confines of the two-dimensional surface, adding a sense of movement and life to the painting.
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The subject of the painting
Adélaïde Labille-Guiard's Self-Portrait with Two Pupils was created in 1785 and is an important work in the history of art, particularly for female artists. The painting depicts Labille-Guiard at her easel, painting, flanked by two of her students, Fanny de la Chaise and Madame Sophie de Monnier, who were also aspiring artists. Marie-Gabrielle Capet and Marie-Marguerite Carreaux de Rosemond are the two young women shown intent on their studies, and what their teacher is demonstrating. The painting has been interpreted as a representation of solidarity among women artists, conveying the message that they too deserve recognition and appreciation for their artistic contributions.
The work has also been viewed as a political statement, challenging the prevailing attitudes of the 18th century, where female artists often faced substantial barriers to recognition and acceptance in a predominantly male-dominated field. By portraying herself as a skilled artist alongside her students, Labille-Guiard asserts her position in the art world and advocates for the artistic abilities of women. The inclusion of her pupils in the work not only celebrates female talent but also illustrates the importance of mentorship, teaching, and supporting future generations of women artists.
The marked variation in attire between Labille-Guiard and her pupils also helps to differentiate her from her more plainly dressed students. The painting depicts the artist in a beautiful dress and a beribboned straw hat, rich in colour and complex in execution, while her pupils are more simply dressed. Labille-Guiard rendered the painting with incredible attention to detail, capturing the visual essence of each texture in the room, from the soft and youthful facial features of her pupils to the slight wisps of hair that seem to dance free from the confines of the two-dimensional surface.
The finished painting is almost life-size, and it has been speculated that the artist and one of the pupils are looking at a mirror. In this case, Labille-Guiard is painting the very painting that the observer sees. It has been argued that the work was aimed at the Académie Royale, as Labille-Guiard aspired to become a member, and at the time, the Académie limited female new members to four per year. By including two female students, the painting argues that more female artists should be accepted into the Académie Royale.
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The painting's significance
Adélaïde Labille-Guiard's "Self-Portrait with Two Pupils" is a significant painting for several reasons, particularly in the context of female artists and their representation in the art world during the 18th century.
Firstly, the painting challenges societal norms and defies the dominance of male artists during that period. As a self-portrait, it asserts Labille-Guiard's talent, skill, and authority as a female artist. By including her two female students, Fanny de la Chaise and Madame Sophie de Monnier, she also highlights the potential and artistic abilities of her pupils, showcasing the talent of women artists more broadly. This representation of solidarity among women artists conveys the message that they deserve recognition and appreciation for their artistic contributions.
Secondly, the painting highlights the relationships between women in art, emphasizing mentorship and collaboration. Labille-Guiard was devoted to the teaching and advancement of women artists, seeking equal rights and opportunities for them within artistic institutions. By portraying herself alongside her students, she asserts the presence and skill of women in the art world, challenging the male-dominated nature of the field at the time.
The painting also carries significance in its style and composition. It showcases the influence of the Rococo and Neoclassical styles of the late 18th century, with elements such as the chemise dress and powdered hair. The structure of the painting, with the easel on the left, may have been inspired by Antoine Coypel's "Portrait of the Artist with his Young Son, Charles Antoine". The fashion and glamour depicted in the painting, including the gorgeous hairpieces and lush folds of cloth, also add to its visual impact.
Lastly, the painting holds historical importance as it led to Labille-Guiard's admission to the Académie Royale, alongside Elisabeth-Louise Vigée Le Brun, marking a rare honour for female artists at the time. Labille-Guiard actively worked towards reforming the regulations of the Académie and advocated for wider admission for female artists. Her painting, therefore, stands as a testament to her revolutionary spirit and her commitment to advancing the recognition and acceptance of women in the arts.
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The painting's ownership and exhibition
Adélaïde Labille-Guiard's Self-Portrait with Two Pupils was exhibited at the Salon of 1785 in Paris. A contemporary critic called it the most beautiful portrait at the Salon that year.
The painting remained in the artist's family until 1905. It was donated in 1953 to The Met by Julia Berwind. Today, it is housed at the Metropolitan Museum of Art in New York City.
The painting is considered one of the most remarkable images of women's art education in early modern Europe. It depicts Labille-Guiard with her two pupils, Marie Gabrielle Capet and Marie Marguerite Carreaux de Rosemond, standing behind her. The artist's elegant attire and the inclusion of her pupils offered her the opportunity to showcase the complexities of composition.
The work is a Rococo oil on canvas painting, measuring 83 x 59 1/2 inches (210.8 x 151.1 cm). It is known for its impressive use of paint, texture, and colour coordination, resulting in a smooth and continuous colour transition.
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Frequently asked questions
Self-Portrait with Two Pupils is a painting created by French artist Adélaïde Labille-Guiard in 1785.
The painting depicts Adélaïde Labille-Guiard herself with two of her female students, Fanny de la Chaise and Madame Sophie de Monnier, who were also aspiring artists.
This painting is significant as it challenges societal norms and defies the dominance of male artists in the 18th century. By portraying herself as a skilled artist alongside her students, Labille-Guiard asserts her position in the art world and advocates for the recognition and acceptance of female artists.
The painting is currently on display in the permanent collection at the Metropolitan Museum of Art in New York City.
