Women Artists of the 18thand 19th Centuries

Adélaïde Labille-Guiard: 1749-1803NeoclassicalGuiard was first apprenticed to a miniaturist 1769 studied the art of pastel with de La Tour. In 1783, she was admitted to the French Academy.Only four women artists were eligible.Labille-Guiard achieved a certain success at court of Louis XVI, known as Peintre des Mesdames. Sympathized with the Revolution. Remained in France throughout her life. Established her own studio in the early 1780sCommissions were royal and aristocratic patrons 1783 taught nine women students.Exhibited portraits at the Salon until 1800.

Source: Adélaïde Labille-Guiard. Self-Portrait with Two Pupils, Mademoiselle Marie Gabrielle Capet (1761–1818) and Mademoiselle Carreaux de Rosemond (died 1788) (53.225.5) | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art

Adélaïde Labille-Guiard, Self Portrait with Two Pupils, 1785 . Oil on canvas, 6’11”X 4’11’

Adélaïde Labille-Guiard , French, 1779 Pastel on paper, 21 1/2 x 17 1/2 in.

Adélaïde Labille-GuiardA Fashionable Noblewoman Wearing a Plumed Hat, c. 1789

Marie-Louise-Élisabeth Vigée-Lebrun, 1755-1842

Neoclassical.Accepted to the Royal Academy with Labelle-Guiard.Queen Marie Antoinette's favorite portrait painter.Fled to Rome on the eve of the 1789Revolution.Successfully worked in Italy, Austria, Russia and EnglandResettled in Paris in 1805Became popular with Parisian artistsPainted over 800 portraits without changing her style Father was a portrait painter, Taught herself to paint by copying masters Adopted Peter Paul Rubens’ technique of painting layers of brilliant color on wood panels to achieve animated, polished, and supremely attractive portraits of European royalty and aristocracy. Recognized as one of Europe's foremost portrait painters. Retired in comfort in France

Marie-Louise-Élisabeth Vigée-Lebrun , French (1755–1842)Self-Portrait

Marie-Louise-Élisabeth Vigée-Lebrun, Portrait of Marie Antoinette with Her Children, 1787,Oil on canvas, 9’1/2” X 7’ 5/8”

Marie Bracquemond, 1840 - 1916Born in Brittany, Began painting, when her family moved to Paris. Earlier work shows influence of Ingres, her teacher. 1870s, she was an active proponent of Impressionism.Impressionist exhibitions of 1879, 1880, and 1886.   Her overbearing artist-husband Felix Bracquemond stopped her from painting around 1890.

Marie Bracquemond,Self Portrait,1870

Marie Bracquemond, Portrait of Mademoiselle Charlotte du val d’ Ognes, 1801

"The severity of Monsieur Ingres frightened me . . because he doubted the courage and perseverance of a woman in the field of painting. He would assign to them only the painting of flowers, of fruits, of still lifes, portraits and genre scenes."

Marie Bracquemond, On the Terrace at Sevres,1880

Marie Konstantinovna Bashkirtseva Born on November 11, 1858 in the Ukraine.Daughter of Russian nobility. Childhood spent with her mother in Germany until they settled in Paris. Began a singing career, studied art, and is best known for her Journal of Marie Bashkirtseff (1887). Died in 1884 of tuberculosis just before her 24th birthday.

Marie Bashkirtseff Self-Portrait, 1880

Marie Bashkirtseff, Le Meeting, 1884 - Oil on canvas

Marie Bashkirtseff , Woman with Lilacs, 1881

L’atelier Julian (The Studio), 1881

Berthe Morisot (January 14, 1841 – March 2, 1895) French Impressionist painter. Born in BourgesHer bourgeois family encouraged her artDemonstrated avant-garde art movementsPursued art with family support. By age 20, befriended Camille Corot of the Barbizon school.He introduced her to other artists and teachers. She took up plein air techniques. 1864 accepted in the Salon de Paris with two landscape paintingsShe continued to show regularly. 1874 she married Eugene Manet, Edouard Manet’s younger brother.

In a letter to the mother of Edma and Berthe Morisot, their private art instructor expressed the implications of the two girls' burgeoning talents: “Considering the characters of your daughters, my teaching will not endow them with minor drawing room accomplishments, they will become painters. Do you realize what this means? In the upper-class milieu to which you belong, this will be revolutionary, I might say almost catastrophic.”

Madame Morisot responded to her daughters' potential by sending them to further their studies under the tutelage of Joseph-Benoît Guichard, a pupil of Ingres and Delacroix.

Edouard Manet Berthe Morisot with a Bouquet of Violets, 1872.

Berthe Morisot, The Cradle, 1872, Oil on canvas

Berthe MorisotThe Mother and Sister of the Artist, 1869/1870

Berthe Morisot,Young Girl in a Ball Gown,1879,Oil on canvas

ROSA BONHEUR (1822 - 1899) Established herself as the foremost animal painter.Realist landscape painter.Work was well known throughout Europe and America. She was one of four children, each trained as an artist., Oscar-Raymond Bonheur, a trained artist and socialist. Rosa’s liberalism defiant personality lead to her dressing as a male, cutting her hair short, and smoking cigarettes and cigars. “To [my father’s] doctrines I owe my great and glorious ambition for the sex to which I proudly belong and whose independence I shall defend until my dying day.”Trained with her father at thirteen. Never attended formal art classes.

Anna Klumke, Portrait of Rosa Bonheur, 1899

Rosa Bonheur, Le Marché aux Chevaux (The Horse Fair), 1851 -1853

Rosa Bonheur, Couching Lion, 1872

Rosa Bonheur, Lion at Rest, 1880

Eva Gonzalès 1849-1883Impressionist Began in Chaplin's studio.Became Manet's student, model, and friend 1869. Strong contrasts between light and dark tones.Thick patches of broadly applied pigmentsContemporary subject matter. Paintings depict young women relaxing in

gardens and fashionable theatergoers. Produced many feminized paintings, giving historians a different perspective of everyday life

in Paris in the mid-to-late eighteen hundreds.

Eva Gonzalès, A Loge at the Théâtre des Italians,1874

Eva Gonzalès, Le Chignon, 1865

Identify two works of art one from a woman and one from a man Both from the 19th Century and discuss how the two genders view the world and how they view art?