Two Revolutions

 In the moments leading up to the French Revolution of 1789, another revolution was forming that would challenge the deeply-rooted norms of the art world. Women were gradually beginning to gain precedence in many forms of artistry, including genres of visual art such as portraiture and history painting, which had previously been thought to be reserved exclusively for males in the trade. The Revolution in France brought with it a space for women artists to confront such societal ideals. Prior to the war, the esteemed Royal Academy allowed a limit of four female artists to participate, and it was extremely difficult for a woman to exhibit her work at the Salon—where statements could be made known to society and an artist could either gain or lose coveted popularity. At the start of the war, however, artists such as Adélaïde Labille-Guiard and Elisabeth Louise Vigée Le Brun became major catalysts in the efforts for women to have a legitimate voice and opportunity in high art. This exhibit explores how the French Revolution prompted these two female artists, along with other artists of both genders from the same time period, to display gender roles in ways that either condoned or condemned previous modes of thought. The focus lies on women’s portraiture in order to compare how society in this context viewed these roles, and how ideals might have changed as a result of the two revolutions.

“Portrait of a Young Woman as a Vestal Virgin”

François Hubert Drouais

1767

Oil on canvas

65.242.2

A painting done just over twenty years before the French Revolution began, this Neoclassical piece by male artist Drouias is a staple for representing the ideal woman of this society while calling back to historical tradition. The historical costume of an ancient Roman “Vestal Virgin” was to depict both undeniable beauty and chastity, and was often the garb of unmarried women in their portraits. Even the less primary subject matter, such as the veil, the dainty bouquet of flowers, and the brazier staking its place in the background, all symbolize the strong stance on what was to be admired in a young woman— virginity and eligibility for marriage. Not many dared or even wished to question the perceived perfection of this virtuous piece.

“Princess Varvara Nikolaevna Gagarina (1762–1802)”

Jean-Baptiste Greuze 

1780–82

Oil on canvas

65.242.3

Similarly, this portrait of Princess Varvara of Russia was completed by another male artist by the name of Greuze around the time of her marriage. Once again, the Neoclassical style is utilized in the expected manner, resulting in a painting which contains several icons that speak of chastity and purity as being primary identification for this woman. Her distant pose and soft, rosy complexion make room for the appearances of the spaniel—a symbol for faithfulness and wealth— and the floral elements—symbols for virginity, prosperity, and fruitfulness— to make it clear what type of woman the princess is, and that she should be sought after as a result. 

“Self-Portrait with Two Pupils, Marie Gabrielle Capet (1761–1818) and Marie Marguerite Carreaux de Rosemond (died 1788)”

Adélaïde Labille-Guiard

1785

Oil on canvas

53.225.5

“Madame Jean-Baptiste Nicolet (Anne Antoinette Desmoulins, 1743–1817)”

Jean-Baptiste Greuze 

late 1780s

Oil on wood

55.205.2

This portrait by Greuze depicts a middle-class woman who had worked as both an actress and a theatre manager. By this time, Greuze seems to have caught on to the idea that women may be depicted as professionals and not just virgins or domestics. He includes playwright volumes on the desk, one of which the woman appears to have been actively reading, as is made evident by her line of work.  This painting is not an attempt at imposing the ideal woman on the viewer, but instead is a testament to a particular woman’s life and skills.  

“Comtesse de la Châtre (Marie Charlotte Louise Perrette Aglaé Bontemps, 1762–1848)”

Elisabeth Louise Vigée Le Brun 

1789

Oil on canvas

54.182

While the subject matter of this piece mostly highlights elegance and style, female artist Le Brun demonstrates her skill by handling oil paint to represent the most fragile of fabrics and stunning naturalism that matches that of her male counterparts. Completed just months before both the artist and the sitter in the portrait fled France because of their loyalty to the Crown, this piece serves as a familiar form of tranquility and ease of the aristocratic life in the midst of the ever-growing chaos. It also serves as another form of evidence that the women artists of the Academy should be legitimized in their efforts by critics and society at large.

“The Interior of an Atelier of a Woman Painter”

Marie Victoire Lemoine (French, Paris 1754–1820 Paris)

1789

Oil on canvas

57.103

This piece was done right at the start of the war that would last a decade and result in the abolition of institutions such as the Royal Academy, which had set the tone for painting and sculpture for years. Similar in form to the self-portrait of Labille-Guiard, this piece by the female artist Lemoine rejects society’s—and therefore the Academy’s— narrative about women’s roles and their inclusion in the sphere of professional high art. This is accomplished by the calculated appearances of multiple genres of art which had previously been deemed too lofty for women to master, namely history painting and portraiture, along with a little still-life in the background. The still-life represents the artist’s ability in this lower, female-oriented genre as well. In addition, this window into a female artist’s studio gives off an air of professional mastery with the presence of a student preparing to carry on the legacy her teacher started.

“Self-Portrait with a Harp

Rose Adélaïde Ducreux (French, Paris 1761–1802 Santo Domingo)”

1791

Oil on canvas

67.55.1

Another huge change for the art world which happened as a result of the anarchy of the Revolution was the opening of the Salon in Paris to all in 1791. For Rose Ducreux and her father, the primary portraitist of Marie Antoinette, this meant that their previous exclusion was now nullified and they were free to display their worthy handiwork as they wished. For this self-portrait, Rose chooses to highlight her masteries in the realms of both music and painting while including an antique vase and a column relief as Neoclassical references. Her success in the expression of naturalism with the materials and rendering of the piece give additional credibility to her work. While the aftermath of the French Revolution was mostly horrific, the challenges it posed to society went towards giving female artists like Rose Ducreux, Labille-Guiard, Le Brun, and many others an opportunity for a second revolution— an opportunity to make a positive change for women seeking to make their own way in an era of massive cultural shifts.