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confidently at the viewer, with penetrating eyes, a small delicate nose and thin lips. The clothing, in a style then called "a la grècque", is fashionable but relatively simple, without baroque props and drapes. She wears earrings with a flamboyant straw hat decorated with flowers and ostrich feathers on her head, which was considered artistic at the time. Palette and brushes indicate her profession, which was exceptional for women at the time.
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reintroduce the brilliant shine of directly reflected natural light into the spirit of her great example. She shows herself in the open air against a cloud-moving, but calm sky, which contrasts particularly in the colour composition with the multi-coloured depiction of herself as a painter. More than Rubens, who places a strong emphasis on the bosom of his model, she portrays herself as a complete, emancipated personality,
281:, I found the famous "Straw Hat," which has lately been sold to an Englishman for a large sum. This admirable picture represents a woman by Rubens. It delighted and inspired me to such a degree that I made a portrait of myself at Brussels, striving to obtain the same effects. I painted myself with a straw hat on my head, a feather, and a garland of wild flowers, holding my palette in my hand.
327:) had been, too. Monsieur Pierre, a very mediocre painter, was a clever man. Besides, he was rich, ... His opposition might have become fatal to me if all true picture-lovers had not been associated with the Academy, and if they had not formed a cabal, in my favour, against M. Pierre's. At last I was admitted ...
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Vigée-Le Brun paints herself as a charming young lady in an unusually natural pose and appearance for the time. She wears neither a corset nor a wig, which was highly unusual in the period so close to the French
Revolution. There is no rouge on her cheeks and her hair is not powdered. She looks
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Quote cf. Dutch translation in
Langmuir, p. 329. Original French text: "The great effect of this painting, is in the two different modes of lighting that create the simple daylight and the sunlight. Perhaps you have to be a painter to judge all the merit of execution that Rubens deployed. This
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can be seen primarily as a study of the effect of light, in the spirit of Rubens. Partly because her eyes fall into the shadow of the hat, the viewer's gaze is immediately drawn to the neck lit from below, which widens into her central décolleté. In the other parts of the work she manages to
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The soft, flattering style is typical of Vigée Le Brun. However sentimental her self-portrait may seem to contemporary standards, it was considered innovative and modern in her time, mainly because of its natural simplicity. It anticipated the neoclassical portraiture of
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173:"The effect of this painting, is in the two different modes of lighting that create the simple daylight and the sunlight. The painting made such an impression on me that when I painted my own portrait I used the same effects"
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Vigée Le Brun also painted several self-portraits with her daughter, mainly to show that despite her profession she was also a good mother.
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made an engraving after it, but it must be understood that the dark shadows of an engraving spoiled the whole effect of such a picture.
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Langmuir, Erika. The
National Gallery: museum guide . Snoeck, Ducaju and son, Ghent, 1995, pp. 328–329. ISBN 9-789053-492017
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When the portrait was exhibited at the Salon I feel free to confess that it added considerably to my reputation. The celebrated
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The painting that is the main subject of this article is a replica of that first version, painted when she was back in Paris. (
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painting delights me and inspired to the point that I made my portrait in
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Soon after my return from
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Stephen
Farthing: 1001 Must-See Paintings. Librero, 2012, p. 326. ISBN 978-90-8998-209-4
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495:"Portrait of the week, Self Portrait in a Straw Hat, Elizabeth Louise Vigee Le Brun (1782)"
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after the revolution. She only returned to Paris after the fall of
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97.8 cm × 70.5 cm (38.5 in × 27.8 in)
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Vigée Le Brun discussed the 'Straw Hat' painting in her memoirs.
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In the same period she also made a very similar portrait of
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in
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In her memoirs Vigée Le Brun stated that the painter
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673:Portrait of Countess Yekaterina von Engelhardt
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169:) This painting deeply impressed her.
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16:Painting by Élisabeth Vigée Le Brun
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641:Portrait of Muhammad Dervish Khan
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159:Susanna Fourment with a Straw Hat
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403:Susanna Fourment with Straw Hat
553:Information about the painting
180:"Self-portrait in a straw hat"
178:She made her first version of
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549:High quality, zoomable image.
526:Doubleday, Page & Company
459:Doubleday, Page & Company
617:Marie Antoinette with a Rose
609:Self-Portrait in a Straw Hat
517:University of Pennsylvania,
450:University of Pennsylvania,
360:Self-portrait in a Straw Hat
225:Self-portrait in a straw hat
92:Self-Portrait in a Straw Hat
22:Self-Portrait in a Straw Hat
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716:Jean-Baptiste-Pierre Lebrun
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398:Portrait of Susanna Lunden
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309:Jean-Baptiste Marie Pierre
154:Portrait of Susanna Lunden
147:with her husband, and saw
131:advised her to study the
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511:Literature and resources
503:Sat 27 May 2000, Culture
104:Zelfportret met strohoed
594:Élisabeth Vigée Le Brun
407:Note: She is wearing a
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109:Élisabeth Vigée Le Brun
40:Élisabeth Vigée Le Brun
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135:. In 1782 she went to
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220:Description
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684:Portrayals
421:References
67:Dimensions
730:(brother)
718:(husband)
668:(c. 1790)
612:(c. 1782)
601:Paintings
413:straw hat
321:Mme. Vien
277:. ... at
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724:(father)
395:Rubens:
246:Florence
137:Brussels
75:Location
703:Related
333:Gallery
311:, then
279:Antwerp
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145:Antwerp
123:Context
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275:Rubens
254:Vienna
214:below.
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157:(aka.
117:London
83:London
57:Medium
36:Artist
401:(aka.
409:felt
256:and
250:Rome
210:See
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