Louise Elisabeth Vigee Le Brun (1755 - 1842). Élisabeth Louise Vigée Le Brun, also known as Madame Lebrun or Madame Le Brun, was a prominent French portrait painter of the late 18th century. Her artistic style is generally considered part of the aftermath of Rococo with elements of an adopted Neoclassical style. Her subject matter and color palette can be classified as Rococo, but her style is aligned with the emergence of Neoclassicism. Vigée Le Brun created a name for herself in Ancien Régime society by serving as the portrait painter to Marie Antoinette. She enjoyed the patronage of European aristocrats, actors, and writers, and was elected to art academies in ten cities. Vigée Le Brun created some 660 portraits and 200 landscapes. In addition to many works in private collections, her paintings are owned by major museums, such as the Louvre, Hermitage Museum, National Gallery in London, Metropolitan Museum of Art in New York, and many other collections in continental Europe and the United States. Born in Paris on 16 April 1755, Élisabeth Louise Vigée was the daughter of Jeanne, a hairdresser, and portraitist and fan painter, Louis Vigée, from whom she received her first instruction. In 1760, at the age of five, she entered a convent, where she remained until 1766. Her father died when she was 12 years old. In 1768, her mother married a wealthy jeweller, Jacques-François Le Sèvre, and shortly after, the family moved to the Rue Saint-Honoré, close to the Palais Royal. In her memoir, Vigée Le Brun directly stated her feelings about her step-father: I hated this man; even more so since he made use of my father's personal possessions. He wore his clothes, just as they were, without altering them to fit his figure. During this period, Élisabeth benefited from the advice of Gabriel François Doyen, Jean-Baptiste Greuze, and Joseph Vernet, whose influence is evident in her portrait of her younger brother, Étienne Vigée. By the time she was in her early teens, Élisabeth was painting portraits professionally. After her studio was seized for her practicing without a license, she applied to the Académie de Saint-Luc, which unwittingly exhibited her works in their Salon. In 1774, she was made a member of the Académie. On 11 January 1776 she married Jean-Baptiste-Pierre Le Brun, a painter and art dealer. Vigée Le Brun began exhibiting her work at their home in Paris, the Hôtel de Lubert, and the Salons she held here supplied her with many new and important contacts. Her husband's great-great-uncle was Charles Le Brun, the first director of the French Academy under Louis XIV. Vigée Le Brun painted portraits of many of the nobility. On 12 February 1780, Vigée-Le Brun gave birth to a daughter, Jeanne Lucie Louise, whom she called Julie and nicknamed Brunette. In 1781 she and her husband toured Flanders and the Netherlands, where seeing the works of the Flemish masters inspired her to try new techniques. Her Self-Portrait with Straw Hat was a free imitation of Peter Paul Rubens' La Chapeau de Paille. Dutch and Flemish influences have also been noted in The Comte d'Espagnac and Madame Perregaux. In 1787, she caused a minor public scandal when her Self-Portrait with Her Daughter Julie was exhibited at the Salon of 1787 showing her smiling and open-mouthed, which was in direct contravention of traditional painting conventions going back to antiquity. The court gossip-sheet Mémoires secrets commented: An affectation which artists, art-lovers and persons of taste have been united in condemning, and which finds no precedent among the Ancients, is that in smiling, shows her teeth. In light of this and her other Self-Portrait with Her Daughter Julie, Simone de Beauvoir dismissed Vigée Le Brun as narcissistic in The Second Sex: Madame Vigée-Lebrun never wearied of putting her smiling maternity on her canvases. As her career blossomed, Vigée Le Brun was granted patronage by Marie Antoinette. She painted more than 30 portraits of the queen and her family, leading to the common perception that she was the official portraitist of Marie Antoinette. At the Salon of 1783, Vigée Le Brun exhibited Marie-Antoinette in a Muslin Dress, sometimes called Marie-Antoinette en gaulle, in which the queen chose to be shown in a simple, informal white cotton garment. The resulting scandal was prompted by both the informality and the queen's decision to be shown in that way. Vigée Le Brun's later Marie-Antoinette and her Children was evidently an attempt to improve the queen's image by making her more relatable to the public, in the hopes of countering the bad press and negative judgments that the queen had recently received.