The Feminine Spirit

There has been significant debate regarding the attribution of Marie Joséphine Charlotte du Val d’Ognes. This painting was once attributed to Jacques Louis David, but many scholars have speculated against this claim. A notable scholar in this debate, Charles Sterling, argued against David as the artist and felt the portrait revealed a “feminine spirit,” suggesting it was painted by a woman. The Metropolitan Museum of Art currently ascribes Marie Denise Villers, as the most probable artist, although speculation remains. Originally, Viller’s painting was exhibited at the Paris Salon of 1801. Other female artists, such as Élisabeth Louise Vigée Le Brun, Adélaïde Labille-Guiard, and Marie Victoire Lemoine also benefitted from the Salons of the late 18th century. At this time, many French female painters were able to reach great artistic achievement and success in the Salons.  Vigée Le Brun’s “loose brushstrokes, high-toned color, and flattering renderings of her sitters,” along with Labill-Guiard’s “crisp handling, muted tones, and truth to nature” are some examples of their distinctive styles. These women sought out their success as artists, sometimes being praised for their skill, and other times being critiqued for the immodesty of displaying their talents publicly. However, being a minority in the Salons, they were able to create paintings with the charm of the “feminine spirit,” using their own unique talents.

Élisabeth Louise Vigée Le Brun, Madame Grand, c. 1783, oil on canvas,
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Élisabeth Louise Vigée Le Brun is considered to be one of the greatest French female artists of her time. This painting is one of many paintings she sent to the Salon of 1783, which was also her public debut. It features Madame Grande, who was a minor celebrity in the region during this time. True to Vigée Le Brun's style, it is a very “feminine” portrait, with high-toned colors and a flattering portrayal of Madame Grande.

Élisabeth Louise Vigée Le Brun, Marie Antoinette in a Chemise Dress, c. 1783, oil on canvas, The Metropolitan Museum of Art

French female painters of this time period often had wealthy patrons supporting them, and Vigée Le Brun was a favorite of Queen Marie Antoinette. It was with Marie Antoinette and other patrons support that she was able to be entered into the French Académie Royale. This particular portrait was deemed inappropriate for the public eye and taken down. Sadly, after the French Revolution, Vigée Le Brun’s success declined and many of her paintings were burned as a result of her connection to the royal family.

Adélaïde Labille-Guiard, Self-Portrait with Two Pupils, Marie Gabrielle Capet (1761–1818) and Marie Marguerite Carreaux de Rosemond (died 1788), c. 1785, oil on canvas,
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Adélaïde Labille-Guiard was also entered into the French Académie Royale, which at the time had only four available positions for female artists. Her artwork is characterized here with intricate detail and rich color. Interestingly, this piece is considered by some to be propaganda, urging for female painters to have a place in the academy. Through the subject matter of this self-portrait, the rise to prominence for female painters can be viewed as they are in their work space, whether it was intended to be propaganda or not.

 

Adélaïde Labille-Guiard, Madame Élisabeth de France, c. 1787, pastel on blue paper, seven sheets joined, laid down on canvas, 2007.441

 This is a portrait of Madame Élisabeth de France, the younger sister of Louis XVI. In this painting, Labille-Guiard showcases her skill with pastel technique, furthering her status as an artist. She is said to have been talented in her ability to portray the dispositions of her sitters which can be viewed here. Labille-Guiard continued to use her prominence as an artist to teach other young female artists throughout this time.

 

Marie Victoire Lemoine , The Interior of an Atelier of a Woman Painter, c. 1789, oil on canvas,
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The French Académie Royale was abolished as a result of the French Revolution and therefore the Salons became open to more female artists since they were not required to have a membership with the Académie. Marie Victoria Lemoine is an example of a female artist who benefited from this change. This is another painting depicting women in their natural workspace, probably in a professional studio. Interestingly, Lemoine is the sister of Marie Denise Villers, who is now attributed with the painting of Marie Joséphine Charlotte du Val d’Ognes, a portrait of a young female painter. 

Marie Denise Villers, Marie Joséphine Charlotte du Val d’Ognes, c. 1801, oil on canvas, 17.120.204

This painting was once attributed to Jacques Louis David, but has since been reattributed to Marie Denise Villers. There is little known about Villers, but scholars have suggested the subject, Marie Joséphine Charlotte du Val d’Ognes, is an art student being painted in a professional art studio. The figure in the painting is placed against the light in the background. Her white gown and fair skin are illuminated by the light, as she gazes out at the viewer. David never placed his figures against the light in his portraits, one of the key stylistic reasons this painting is believed to have been made by a woman, and most probably, Villers.