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studio. Her commitment for female students was evident throughout her membership at the Royal
Academy. At a meeting held on 23 September 1790, Labille-Guiard proposed that women be admitted in unlimited numbers and be permitted to serve on the institution's governing board. Both motions were approved. However, conservatives of the Academy turned it down and criticized Labille Guiard as a "Jeanne d'Arc", and "a hen amongst roosters," and she was similarly condemned by the radicals.
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Provence), Réception d'un chevalier de Saint-Lazare par
Monsieur, Grand maître de l'ordre. The exile of the Comte of Provence meant Labille-Guiard had not only lost her last royal patron, but she also did not receive a cent of the agreed-upon 30,000 livres. The Revolution further hurt her career when the royal sisters emigrated in February 1791 without paying for several portraits they had commissioned Labille-Guiard to paint.
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exhibited her work at its Salon. This show was so successful that the Royal
Academy took offence, and with the backing of the monarchy, issued an edict in March 1776 abolishing “guilds, brotherhoods, and communities of arts and crafts”, forcing the Académie de Saint-Luc to close its doors in 1777. However, this did not stop Labille-Guiard's ambitions as an artist.
491:. Unlike some other paintings of female artists in the 18th century, Labille-Guiard chose to depict herself actively working rather than passive and at rest. Labille-Guiard also pushed against other restrictions, such as those that limited the number of females that could attend the Royal Academy. By depicting two female students in
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ability. She was good at rendering details, such as showing luxurious folds and layers of complex skirts that were in fashion at the time. However, often she painted with a twist such as having women face directly at the viewer or with a low neckline, which was an uncommon practice in the 18th century when portraying women.
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332:, was also elected on that day; the two of them were the first women to be inducted. Both Labille-Guiard and Vigée Le Brun were immediately criticized following their admission by those who were furious at women's entry; Labille-Guiard suffered attacks against both her art and character. One anonymous pamphlet
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accused
Labille-Guiard of exchanging sexual favors for help with painting. The pamphlet punned on François-André Vincent's name (though still unmarried, he was her rumored paramour), saying that Labille Guiard had "vignt cents" (twenty-hundreds, or two thousand) lovers. Still, becoming accepted into
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Labille-Guiard had an impact on her young female artists. In a letter written by a mother whose daughter studied painting with a female academic, (who, based on the description, seems to be
Labille-Guiard) she explained that the teacher insisted on maintaining the highest standards of modesty in her
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Once the Académie de Saint-Luc closed its doors, Labille-Guiard began to learn oil painting, so she could apply to the Royal
Academy which required her to present at least one oil painting for admission. During the late 1770s, she painted several portraits of leading academicians, creating contacts
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Labille-Guiard was admitted to the Académie de Saint-Luc in 1767 when she was twenty years old. Her admission piece has since disappeared and sadly no records of its existence survive today. The Académie de Saint-Luc provided
Labille-Guiard with a space to practice art professionally. In 1774, she
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Labille-Guiard became a master at miniatures, pastels, and oil paintings. Little is known about her training due to the practices of the 18th century which dictated masters (who were predominately male) should not take on female pupils. During this time, women were perceived as incapable to follow
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and portrait painter. She was an advocate for women to receive the same opportunities as men to become great painters. Labille-Guiard was one of the first women to become a member of the Royal
Academy, and was the first female artist to receive permission to set up a studio for her students at the
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In 1793 she was ordered to remit "the larger and small portraits of the former prince and all studies related to these works, to be devoured by flames." She was thus forced to destroy what she had hoped to be her grandest work, the history painting commissioned by the Count of
Provence (Comte de
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Labille-Guiard often did not fit comfortably within the boundaries of feminine virtue in the 18th century. In order to appeal to a wide variety of viewers including upper-class men and women, she often incorporated recent fashions into her paintings, which allowed her to showcase her artistic
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Labille-Guiard chose to display some of her work at the Salon de la
Correspondance in 1779 and 1783. This included her self-portrait in pastel and oil portraits, which were well received by critics. Labille-Guiard's talent as an oil painter and pastellist was quickly noticed, and she received
495:, Labille-Guiard suggests more women should be allowed in to the Royal Academy. In this sense, Labille-Guiard was daring, but not too daring as to sabotage her reputation and lose the respect she worked hard to gain within the art world.
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Further evidence of Labille-Guiard's boldness can be seen in her self-portraits, which leave her exposed slightly more than usual, but not enough to evoke allegations of promiscuous behaviour. This is seen in her painting
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were commissioned by the legislature to paint Louis XVI handing the constitution to his son, which was never completed. From 1792, she split her time between Paris and the village Pontault-en-Brie, where she fled with
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national recognition, ultimately leading to her acceptance into the Royal Academy. On 31 May 1783 Labille-Guiard was accepted as a member of the French Academie Royale de Peinture et de Sculpture. Her rival,
373:. The portrait of Adélaïde completed in 1787 was one of Labille-Guiard's largest and most ambitious work to that date. She was later commissioned in 1788 by the King's brother, the Count of Provence (later
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Pajou sculpted the father of Adélaïde Labille-Guiard, Claude Edme Labille, described as a fashion merchant, in 1784; the marble bust was exhibited at the Paris Salon of 1785, and is now in the Louvre (
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Today, Labille-Guiard's masterpiece, Self-Portrait with Two Pupils, hangs in New York's Metropolitan Museum of Art, after the Louvre rejected it in a final dismissal of the artist's talent.
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of 1789, Labille-Guiard stayed in France. However, the royal connections she made throughout her career made her a political suspect. She attempted to position herself as an artist for the
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Labille-Guillard married Louis-Nicolas Guiard in 1769, but separated from him eight years later, already able to support herself through her artwork. She apprenticed with the pastel master
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388:(following a decade-long campaign) and a new pension of 2,000 livres. She was the first woman artist to be permitted to set up a studio for herself and her students at the Louvre.
606:(1746–1816) in 1800. The pastel portraits of Marie Adélaïde, Victoire-Louise, and Élisabeth stayed in Labille-Guiard's possession until she died from an illness on 24 April 1803.
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Labille-Guillard continued to advocate for women, presenting the National Assembly with a memoir about the education of young women deprived of fortune, which was referenced by
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Recently a large pastel by Adélaïde Labille-Guiard was unearthed. It is assumed that it is an earlier version of the Porträt der Mme. Clodion. The photograph is attached
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Through pure artistic ability and talent, Labille-Guiard became a painter for the royal family. Her royal patrons included the aunt of
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Labille-Guillard briefly left Paris for several years at this time, but returned. In 1795, she obtained lodging at
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instruction alongside men. During her adolescence, Labille-Guiard studied miniature painting with oil painter
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Elizabeth A. Sackler Center for Feminist Art: The Dinner Party: Heritage Floor: Adélaïde Labille-Guiard
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De Jesús, Mary Sprinson (2008). "Adélaïde Labille-Guiard's Pastel Studies of the Mesdames de France".
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the Royal Academy opened doors for Labille-Guiard as she gained patronage from the royal family.
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and her sister Victoria Louise, and the King's sister Elizabeth and earned her a government
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269:(the eldest son of François-Élie Vincent), who would later become her husband.
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Cailleux, Jean. "Portrait of Madame Adélaïde of France, Daughter of Louis XV,"
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Among the public collections holding works by Adélaïde Labille-Guiard are the
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554:, 1808. Painting of Adélaïde Labille-Guiard painted in 1808 by her pupil
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Broad strokes: 15 women who made art and made history (in that order)
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Neil Jeffares, Dictionary of pastellists before 1800, online edition
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Women, Art and the Politics of Identity in Eighteenth-Century Europe
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At the time, female artists were frequently related to the goddess
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242:. Her father, Claude-Edme Labille (1705–1788) was a haberdasher.
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Société Internationale pour l'Étude des Femmes de l'Ancien Régime
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Adelaide Labille-Guiard had no children from either marriage.
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531:, the patron of Labille-Guiard – Marie-Adélaïde de France, (
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Royalists to Romantics: Spotlight on Adélaïde Labille-Guiard
1158:. Larass, Petra., Klier, Melanie, 1970-. Munich: Prestel.
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Historical Dictionary of Neoclassical Art and Architecture
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Adélaïde Labille-Guiard: Biographie et catalogue raisonné
971:, edited by Delia Gaze, Taylor & Francis Group, 2001.
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Adélaïde Labille-Guiard: Artist in the Age of Revolution
42:, by Adélaïde Labille-Guiard, 1785, the two pupils are
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Portalis, Roger (1901). "Adélaïde Labille-Guiard" in
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Portrait of Louise-Elisabeth of France with her son
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1035:, Rowman & Littlefield Unlimited Model, 2020.
392:Paris society portraits by Adélaïde Labille-Guiard
261:until 1774. From 1776 to 1780, she began to study
992:"Labille-Guiard [née Labille], Adélaïde"
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209:; 11 April 1749 – 24 April 1803), also known as
1351:The Dinner Party: From Creation to Preservation
1113:The Oxford Encyclopedia Women in World History
238:Adélaïde Labille was born on 11 April 1749 in
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322:Académie royale de peinture et de sculpture
1335:, Los Angeles: J. Paul Getty Museum, 2009.
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1409:by Kathleen Nicholson at Grove Art Online
1004:10.1093/gao/9781884446054.article.T048514
697:She is listed under the place setting of
1383:, Paris: Imprimerie Georges Petit, 1902.
909:Madame Charles Mitoire with her children
250:and her early work was exhibited at the
1058:, Scarecrow Press, Incorporated, 2011.
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680:Labille-Guiard is a featured figure on
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1407:Labille-Guiard (née Labille), Adélaïde
1346:, www.metmuseum.org, posted June 2016.
519:Charles Maurice de Talleyrand-Périgord
365:, a position that led her to painting
315:Becoming a member of the Royal Academy
1340:"Adélaïde Labille-Guiard (1749–1803)"
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572:National Assembly (French Revolution)
287:, 1783, by Adélaïde Labille-Guiard.
48:Marie-Marguerite Carreaux de Rosemond
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1422:Biography of Adélaïde Labille-Guiard
1417:National Museum of Women in the Arts
1121:10.1093/acref/9780195148909.001.0001
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1056:Historical Dictionary of Rococo Art
969:Concise Dictionary of Women Artists
404:Elisabeth de France (oil on canvas)
1374:, Lausanne: 1901, p. 352–367.
1209:. San Francisco: Chronicle Books.
334:Suite de Malborough au Salon 1783,
211:Adélaïde Labille-Guiard des Vertus
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1465:18th-century French women artists
1344:Heilbrunn Timeline of Art History
1087:, Parkstone International, 2018.
777:Princess Marie Adélaïde of France
509:Advocate for young female artists
445:Madame Alexis (Adélaïde Prévost)
1403:at Benezit Dictionary of Artists
1154:50 women artists you should know
924:Portrait of Duchesse d'Aiguillon
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1390:(vol.3, March 1969), supp.i-vi.
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1150:Christiane, Weidemann (2008).
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562:Instead of fleeing during the
330:Elisabeth-Louise Vigée Le Brun
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1085:Elisabeth Louise Vigée-Lebrun
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493:Self-Portrait with Two Pupils
488:Self-Portrait with Two Pupils
39:Self-Portrait with Two Pupils
1480:French portrait miniaturists
1470:18th-century French painters
990:Nicholson, Kathleen (2003).
418:Elisabeth de France (pastel)
341:Painter for the royal family
1495:18th-century women painters
1490:French women pastel artists
1235:Metropolitan Museum Journal
1115:, Oxford University Press,
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1109:"Labille-Guiard, Adélaïde"
652:Metropolitan Museum of Art
591:two students, and others.
298:by Adélaïde Labille-Guiard
265:with her childhood friend
1353:, London: Merrell, 2007.
1291:"Adelaide Labille-Guiard"
1277:"Adélaïde Labille-Guiard"
745:Madame Victoire of France
660:National Museum in Warsaw
642:(Fort Worth, Texas), the
552:Atelier of Madame Vincent
543:In the face of revolution
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1431:Labille-Guiard, Adélaïde
1401:Labille-Guiard, Adélaïde
1377:Portalis, Roger (1902).
666:(Washington, D.C.), the
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529:Princess Madame Adélaïde
234:Self-portrait, miniature
1380:Adélaïde Labille-Guiard
1247:10.1086/met.43.25699092
1205:Quinn, Bridget (2017).
1191:ProQuest Ebook Central.
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1037:ProQuest Ebook Central.
656:National Gallery of Art
351:Princess Marie Adélaïde
200:Adélaïde Labille-Guiard
25:Adélaïde Labille-Guiard
1372:Gazette des Beaux-Arts
861:François-André Vincent
717:The comedian Tournelle
684:'s installation piece
636:Honolulu Museum of Art
604:François-André Vincent
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267:François-André Vincent
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175:François-André Vincent
1485:French pastel artists
1460:French women painters
1031:Palmer, Allison Lee.
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793:Marie-Gabrielle Capet
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252:Académie de Saint-Luc
248:François-Élie Vincent
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1363:Passez, Anne-Marie.
1338:Baetjer, Katharine.
1054:Milam, Jennifer D..
880:in the Role of Babet
363:peintre des mesdames
160: 1769;
1475:Painters from Paris
1388:Burlington Magazine
730:The painter van Loo
584:Jacques-Louis David
582:. In 1791, she and
469:Portrait of a woman
303:Exhibitions at the
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640:Kimbell Art Museum
628:Phoenix Art Museum
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458:Adrienne Lafayette
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1319:Chicago, 157–158.
1216:978-1-4521-5236-3
1130:978-0-19-514890-9
895:Portrait of a Man
564:French Revolution
476:Style and context
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536: 1786
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215:miniaturist
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109:Miniatures
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100:French
1259:S2CID
1251:JSTOR
932:Notes
240:Paris
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1355:ISBN
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