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Journal articles on the topic 'Vigée'

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Published: 12 April 2025

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1

Hartweg, Frederic. "Claude Vigée." Kirchliche Zeitgeschichte 20, no. 2 (April 1, 2007): 249–74. http://dx.doi.org/10.13109/kize.2007.20.2.249.

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2

Alcoloumbre, Thierry. "Situation de Claude Vigée." Pardès 56, no. 2 (2014): 51. http://dx.doi.org/10.3917/parde.056.0051.

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3

Lerousseau, Andrée. "Claude Vigée (1921-2020)." Tsafon, no. 80 (December 1, 2020): 163–68. http://dx.doi.org/10.4000/tsafon.3435.

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4

Raphaël, Freddy. "Vom Elsass nach Jerusalem. Die unvollendete Suche des Claude Vigée." Zeitschrift für Ideengeschichte 15, no. 2 (2021): 61–68. http://dx.doi.org/10.17104/1863-8937-2021-2-61.

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Meine persönliche Annäherung an Claude Vigées Weg vom Elsass nach Jerusalem und darüber hinaus erfolgt in drei Etappen.Am Beginn steht das Land der Sümpfe, des Nebels und des Regens, das er 1939 verlassen musste. Es folgt das unverhoffte Ende des Exils 1960: die überwältigende Entdeckung der unermesslichen Weite des Himmels über dem Gelobten Land und des von Adern durchzogenen Felsens der dreimal heiligen Stadt. Und doch war dies nicht der Ort, an dem die Suche Claude Vigées an ihr Ziel kam. Sie führte den Dichter, der beständig unterwegs war, vielmehr bis in sein tiefstes Innerstes. Verbundenheit und Entwurzelung aus der ersten Heimat: dem Elsass Seit seiner frühen Kindheit war Claude Vigée von der rheinischen Natur der Umgebung des Marktfleckens Bischweiler, in dem er aufwuchs, geprägt. Diese Gegend ist eine «lichte, zarte, etwas schwermütige Landschaft mit Sümpfen, Schilf und toten Wasserläufen unter ergrauten Ästen».Wenn es regnete im Herbst, schwänzte der Junge oft die Schule.
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5

Frank, Évelyne. "Claude Vigée: Danser sa vie." Nouvelle revue théologique 134, no. 1 (2012): 97. http://dx.doi.org/10.3917/nrt.341.0097.

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6

Hyde, Melissa L. "Elisabeth Louise Vigée Le Brun." Early Modern Women 11, no. 2 (2017): 179–91. http://dx.doi.org/10.1353/emw.2017.0018.

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7

Staiber, Maryse. "Situation poétique de Claude Vigée." Recherches germaniques 31, no. 1 (2001): 205–37. http://dx.doi.org/10.3406/reger.2001.1253.

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8

Pinkstein, Daniella, Alfred Dott, and Jean-Luc Allouche. "« Claude Vigée, Poète et Prophète »." Tsafon, no. 85 (June 1, 2023): 21–28. http://dx.doi.org/10.4000/tsafon.8076.

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9

Finck, Michèle. "Claude Vigée : séparation et réparation." Tsafon, no. 85 (June 1, 2023): 63–70. http://dx.doi.org/10.4000/tsafon.8204.

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10

Hendrickx, Claire. "Claude Vigée au miroir de l’é/Écriture." Cahiers ERTA, no. 30 (June 30, 2022): 46–66. http://dx.doi.org/10.4467/23538953ce.22.010.16079.

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Claude Vigée in the mirror of the Scripture(s) According to Paul Ricœur, « The text is the medium through which one understands oneself ». Claude Vigée (1921-2020), as a Jewish writer, tries to receive, embrace and perpetuate the identity conveyed by the Holy Scriptures into his own writing, while also relating it to his life. Asserting oneself as part of a vaster destiny or History; developing a better self-knowledge in the light of a shared relation to the world; finding one’s reflection in Biblical figures, but also relinquishing one’s Self for a better understanding of one’s belonging: these are the paths taken by Vigée for this identity quest which implies the pursuit of the father – or, rather, of the Biblical Fathers – in a fully assumed filiation. Słowa kluczowe: identité narrative,
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11

Staiber, Maryse. "Claude Vigée und Rainer Maria Rilke." Recherches germaniques 38, no. 1 (2008): 119–24. http://dx.doi.org/10.3406/reger.2008.1367.

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12

Alcoloumbre, Thierry. "Vie et survie de Claude Vigée." Tsafon, no. 85 (June 1, 2023): 29–38. http://dx.doi.org/10.4000/tsafon.8079.

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13

Fumaroli, Marc. "Madame Vigée Le Brun femme de lettres." Commentaire Numéro 152, no. 4 (November 24, 2015): 937–38. http://dx.doi.org/10.3917/comm.152.0937.

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14

Duprat, Annie. "Élisabeth Vigée Le Brun,Souvenirs 1755-1842." Annales historiques de la Révolution française, no. 356 (April 1, 2009): 226–28. http://dx.doi.org/10.4000/ahrf.10661.

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15

Bochenek-Franczakowa, Regina. "Elisabeth Vigée Le Brun, Souvenirs 1755-1842." Studi Francesi, no. 158 (LIII | II) (July 1, 2009): 406. http://dx.doi.org/10.4000/studifrancesi.7953.

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16

Duffy-Zeballos, Lisa. "Elisabeth Louise Vigée-Le Brun’s Self-portrait." Archives of Facial Plastic Surgery 7, no. 5 (September 1, 2005): 364. http://dx.doi.org/10.1001/archfaci.7.5.364.

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17

Russo, Kathleen Lucey. "Elisabeth Vigée-LeBrun: Artist, Adventurer, Auto-Biographer." Paragone Past and Present 6, no. 1 (January 20, 2025): 1–28. https://doi.org/10.1163/24761168-00601001.

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Abstract Elisabeth Vigée-LeBrun (1755–1842) was one of the most prolific and successful portrait painters in history. She was patronized by many powerful and aristocratic people of the age, most notably Queen Marie Antoinette, of whom she painted many portraits and with whom she had much in common. This included scandal for both of these women of the same age, particularly regarding rumored lovers. The Comte de Vaudreuil and the Comte de Calonne were two of these men painted by Vigée-LeBrun. Vigée-LeBrun also painted many beautiful self-portraits, including those with her daughter, Julie. Some of the best known are those that she executed in Italy after exile from France. These include the self-portraits that she did for the Uffizi Gallery in Florence and for the Accademia di San Luca, Rome. She herself was so pleased with these works that she painted many copies of them. They include a copy of the Uffizi Self-Portrait for Lord Bristol, the Duke of Berry, and a newly discovered copy of the San Luca Self-Portrait, now in the Houkohl family Collection. Her travels in exile included many cities in Italy and also throughout Europe, including Vienna, where she painted a portrait of the Countess Bucquoi, amongst many other Austrian and Polish nobles. During her long stay in Russia (1795–1801), she painted almost every aristocrat of note, excluding Catherine the Great. She was also admitted to the Royal Academy of Painting in Saint Petersburg, one of many Art Academies to grant her membership. Her many works (660 portraits, 200 landscapes mostly in pastel, and history paintings), show a progression of style from a lush late rococo to a drier neo-classical style and eventual romanticism, indicative of the changes in style throughout her long life. Pardoned by Napoleon, she returned to Paris in 1802, concentrating in her later life on the writing of her Memoirs (Souvenirs), which include many personal stories regarding her life and career.
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18

Montfort, Catherine R. "Vigée Le Brun: Une Artiste Exemplaire (1755–1842)." Nottingham French Studies 35, no. 2 (September 1996): 41–51. http://dx.doi.org/10.3366/nfs.1996-2.004.

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19

Abramkin, Ivan A. "THE IMAGE OF MOTHER WITH CHILD IN ART OF VIGEE LE BRUN DURING HER STAY IN RUSSIA." RSUH/RGGU Bulletin. Series Philosophy. Social Studies. Art Studies, no. 3 (2021): 131–47. http://dx.doi.org/10.28995/2073-6401-2021-3-131-147.

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The object of the article is considering female portraits by Vigée Le Brun, presenting the mother with child and created in Russia. That group of masterpieces constitutes an important phenomenon for the understanding of national tradition in a family portrait – a type of genre which markedly develops just at the turn of 18th–19th centuries with active participation of foreign painters. A close examination of portraits contributes to the identification of specific features which included the thoroughness of interior’s depiction, the neutrality of portrait characteristic and the moderation in the display of maternal feelings. Those features give an opportunity not only to determine an artistic expression of family portrait in the work of Vigee Le Brun, but also to understand a value of masterpieces for the client. For Russian women of the epoch the presentation of Self with a child became a type of revealing portrait which emphasized her image of mother and assumed the exaltation of a model by combining methods of ceremonial and chamber picture.
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20

Lerousseau, Andrée. "Claude Vigée : exil des langues sous la « lune d’hiver »." Tsafon, no. 75 (June 1, 2018): 43–54. http://dx.doi.org/10.4000/tsafon.567.

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21

Pillau, Helmut. "Wider die fruchtlose Endgültigkeit. Zur Poetik von Claude Vigée." Recherches germaniques 33, no. 1 (2003): 129–61. http://dx.doi.org/10.3406/reger.2003.1271.

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22

Traendlin, Heidi. "Échos prophétiques dans la poésie alsacienne de Claude Vigée." Tsafon, no. 85 (June 1, 2023): 83–90. http://dx.doi.org/10.4000/tsafon.8305.

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23

Contogouris, Ersy. "Inspiration divine : Lady Hamilton en sibylle par Élisabeth Vigée-Le Brun." RACAR : Revue d'art canadienne 35, no. 2 (2010): 35. http://dx.doi.org/10.7202/1066791ar.

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24

Bérard, Claude Cazalé. "Recevoir et transmettre au cœur de la poésie de Claude Vigée." Tsafon, no. 85 (June 1, 2023): 91–99. http://dx.doi.org/10.4000/tsafon.8351.

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25

Kaufmann, Francine. "Dans les pas de Jacob : Vigée poète de l’exil et du retour." Tsafon, no. 85 (June 1, 2023): 39–60. http://dx.doi.org/10.4000/tsafon.8129.

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26

Boixareu, Mercé. "LAS MEMORIAS DE PRINCIPIOS DEL XIX Y LOS SOUVENIRS DE ÉLISABETH VIGÉE LE BRUN." Signa: Revista de la Asociación Española de Semiótica 27 (April 9, 2018): 39. http://dx.doi.org/10.5944/signa.vol27.2018.21847.

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El presente estudio aborda la profusión de memorias que sepublicaron en la primera mitad del siglo XIX en Francia, así como lasrazones que subyacen en el desarrollo de este fenómeno. Se ilustrará através de los Souvenirs de Élisabeth Vigée Le Brun (1755-1842), célebreretratista en la corte de María Antonieta, que se vio obligada a exiliarsedurante la Revolución. Entre otras cuestiones, sus Souvenirs dan cuenta delos obstáculos que encontraba como mujer en su labor de pintora, así comode los grandes cambios que presenció: la transición del Antiguo Régimenal Imperio y la Restauración.
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27

Arieh-Lerer, Shon. "Lièwesschprooch Dichtung: Langue d'amour—Poésie (1940-2008) by Claude Vigée." World Literature Today 83, no. 2 (2009): 75–76. http://dx.doi.org/10.1353/wlt.2009.0263.

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28

Mattison, Elizabeth Rice. "Elisabeth Louise Vigée Le Brun’s Portrait of Marie Rose Sanlot (1776)." Source: Notes in the History of Art 43, no. 3 (March 1, 2024): 202–12. http://dx.doi.org/10.1086/731270.

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29

Biancani, Stefania. "Il ritratto impossibile: la morte nel racconto visivo di Élisabeth Vigée Le Brun." IKON 4 (January 2011): 257–66. http://dx.doi.org/10.1484/j.ikon.5.100701.

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30

Luca, Ylenia De. "Le paysage italien vu par Élisabeth Vigée Le Brun, une artiste peintre de la Révolution." Transalpina 27 (2024): 37–52. http://dx.doi.org/10.4000/12kp0.

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Élisabeth Vigée Le Brun, brillante artiste peintre qui se réfugia en Italie pendant la Révolution française, raconte dans ses Souvenirs que le plaisir de vivre à Rome, à Florence et à Naples réussit à la consoler, du moins en partie, du déchirement d’avoir dû quitter son pays, sa famille et les nombreux amis et collègues auxquels elle était attachée. Elle pérégrine d’une ville à l’autre avec l’intention d’acquérir une connaissance directe de l’art antique et surtout des œuvres des maîtres de la tradition picturale et sculpturale. Il s’agit là d’un objectif qui transforme l’exil italien en un véritable voyage de formation professionnelle, selon l’esprit le plus noble du Grand Tour. Les Souvenirs, dont la rédaction a été confiée à des collaborateurs qui ont transcrit la voix de l’artiste exilée et remanié ses notes, relatent le périple italien d’une femme qui, grâce à l’art, a su tirer parti d’une des situations les plus douloureuses que puisse connaître l’être humain.
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31

Douthwaite, Julia. "The Exceptional Woman: Elisabeth Vigée-Lebrun and the Cultural Politics of Art (review)." L'Esprit Créateur 37, no. 1 (1997): 114–15. http://dx.doi.org/10.1353/esp.0.0055.

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32

Blumenfeld, Carole, and Étienne Bréton. "Paris, Rome, Florence, Bologne, Anvers, 1797-1811. Lettres de Jean-Baptiste Pierre Le Brun à Simon Denis." Technè 33 (2011): 18–32. http://dx.doi.org/10.4000/12hxy.

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Les lettres inédites envoyées par Jean-Baptiste Pierre Le Brun à son ami Simon Denis sont une source particulièrement riche sur ses goûts artistiques, ses relations et les conseils qu’il adressait aux artistes originaires des Flandres ainsi que ses activités de marchand de tableaux. Elles apportent un éclairage nouveau sur le réseau d’émissaires français installés en Italie et dans les Flandres sous l’Empire et sur le transport et l’acheminement des œuvres à Paris. Le Brun détaille dans ses lettres les accidents subis par les tableaux et les restaurations qu’il menait à bien lui-même. Ces lettres intimistes se distinguent par leur liberté de ton et la sensibilité des propos de Le Brun à l’égard de son épouse Élisabeth Vigée-Le Brun, de leur fille Julie et surtout de ses amis Simon Denis et Ommeganck.
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33

Pillau, Helmut. "„Àwwer selbsch ém dood züèm drutz“." Recherches germaniques 54 (2024): 77–95. https://doi.org/10.4000/12x59.

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On pourrait parler d’une archéologie du vivant que Claude Vigée entreprend dans cette poésie et dans l’ensemble de son œuvre. Il s’efforce, avec à la fois une détermination farouche et une tendre sollicitude, de réanimer la vitalité qui est enfouie sous l’organisation systématique de la vie humaine. Ce qui caractérise le poète alsacien-juif, c’est qu’il tient compte simultanément de ces paradoxes du développement civilisationnel ainsi que de la situation de vie de ses compatriotes alsaciens et de l’existence précaire des Juifs. Il refuse d’accepter que la certitude de la mort domine sur celle de la vie. Reconnaître la fin des êtres vivants peut signifier un désir de vouloir bloquer leur futur indésirable. La domination sur le vivant, qui a conduit aux succès de la civilisation occidentale, repose sur une alliance secrète avec la mort.
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34

Guilhaumou, Jacques. "Geneviève Haroche-Bouzinac , Louise Elisabeth Vigée Le Brun. Histoire d’un regard , Paris, Flammarion, 2011, 688 p." Dix-huitième siècle 44, no. 1 (July 1, 2012): CLXI. http://dx.doi.org/10.3917/dhs.044.0659fe.

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35

Ashelford, Jane. "‘Colonial livery’ and the chemise à la reine, 1779–1784." Costume 52, no. 2 (September 2018): 217–39. http://dx.doi.org/10.3366/cost.2018.0069.

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When Jane Austen wrote in January 1801 that ‘Mrs Powlett was at once expensively and nakedly dressed’, the fashion for muslin dresses had existed for some eighteen years. This article examines the crucial period between 1779 and 1784 when the muslin garment, which became known as the chemise à la reine, was developed and refined. Originating in the French West Indies, the gaulle was the ‘colonial livery’ worn by the wives of the white elite, the ‘grands blancs’, and first appeared as a costume in a ballet performed in Paris in 1779. The version worn by Queen Marie Antoinette in Vigée Le Brun's controversial portrait of 1783 provoked, according to the Baron de Frénilly, ‘a revolution in dress’ which eventually destabilized society. The article focuses on the role played by Saint-Domingue, France's most valuable overseas possession, in the transference of the gaulle from colonial to metropolitan fashion, and how the colony became one of the major providers of unprocessed cotton to the French cotton industry.
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36

Almelek İşman, Sibel. "Portrait historié: Ladies as goddesses in the 18th century European art." Journal of Human Sciences 14, no. 1 (February 15, 2017): 396. http://dx.doi.org/10.14687/jhs.v14i1.4198.

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Portrait historié is a term that describes portrayals of known individuals in different roles such as characters taken from the bible, mythology or literature. These portraits were especially widespread in the 18th century French and English art. In the hierarchy of genres established by the Academy, history painting was at the top and portraiture came next. Artists aspired to elevate the importance of portraits by combining it with history. This article will focus on goddesses selected by history portrait artists. Ladies of the nobility and female members of the royal families have been depicted as goddesses in many paintings. French artists Nicolas de Largillière, Jean Marc Nattier and Louise Élisabeth Vigée Le Brun; English artists George Romney and Sir Joshua Reynolds can be counted among the artists working in this genre. Mythological figures such as Diana, Minerva, Venus, Hebe, Iris, Ariadne, Circe, Medea, Cassandra, Muses, Graces, Nymphs and Bacchantes inspired the artists and their sitters. Ladies were picturised with the attributes of these divine beings.
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37

Sun, Dian. "The Awakening of Feminist Artistic Expression: A Comparative Study of the Self-Portrait of Frida Kahlo and the Self-Portrait of Élisabeth Vigée Le Brun." Journal of Education, Humanities and Social Sciences 27 (March 5, 2024): 337–42. http://dx.doi.org/10.54097/fgmhf957.

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The topic of feminism was not discussed by scholars until the 20th century, but it has become a highly debated issue in today's society. Female portrait artists have been historically marginalized due to the origins of portraiture being intended to please male viewers. In the past, women were predominantly viewed as mothers and housewives within the social context. However, the research has revealed that numerous female artists defied the societal norms of the time and made unique efforts to achieve independence as professional women. In the long history of painting, there have been many female painters who have expressed feminist ideas through their art. This article compares the self-portraits of two portrait painters, Frida Kahlo and Élisabeth Vigée Le Brun, in terms of painting themes, methods, and the representation of women. This study explores how female artists' paintings were influenced by the rise of female consciousness in different periods. The final result concludes that feminist awakening is depicted in female-themed paintings across different social periods by female artists.
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38

Champagne, Annie. "Élisabeth Louise Vigée Le Brun (1755–1842), La portraitiste de Marie-Antoinette, Musée des beaux-arts du Canada, Ottawa." RACAR : Revue d'art canadienne 42, no. 1 (2017): 87. http://dx.doi.org/10.7202/1040846ar.

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Skowroński, Piotr. "Presumpcja równania się Henrykowi IV: Stanisław August a legenda pierwszego Burbona na tronie francuskim." Pamiętnik Teatralny 67, no. 4 (December 20, 2018): 113–29. http://dx.doi.org/10.36744/pt.259.

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Artykuł omawia wykorzystanie legendy Henryka IV w kształtowaniu wizerunku Stanisława Augusta. W pierwszej części artykułu autor, poprzez prześledzenie XVIII-wiecznych utworów scenicznych we Francji, pokazuje funkcjonowanie pamięci o „dobrym królu Henryku” w epoce Oświecenia. Legenda przedstawiała go jako skutecznego i tolerancyjnego władcę, który zaprowadził pokój w kraju targanym wojnami religijnymi i oparł swoje rządy na zaufaniu i dobrobycie społeczeństwa. Motyw Henryka IV budził stałe zainteresowanie francuskich literatów, szczególnie od momentu opublikowania w latach 20. XVIII w. poematu Woltera Henriada. W drugiej części artykułu przedstawione zostały próby Stanisława Augusta kreowania się na „polskiego Henryka IV” (tym tytułem już w momencie elekcji okrzyknęła go Maria Teresa Geoffrin). Prześledzone zostały wizerunki monarchy, w których możemy doszukiwać się odniesień do postaci Henryka IV: od stroju, w którym Stanisława August pokazał się społeczeństwu Warszawy w dniu koronacji (przedstawionym na oficjalnym wizerunku króla – Portrecie w stroju koronacyjnym Marcella Bacciarellego) do portretu pędzla Élisabeth Vigée-Lebrun z czasów po abdykacji i III rozbiorze Rzeczypospolitej. W artykule zebrano także dzieła sztuki i książki z królewskiej kolekcji przedstawiające pierwszego Burbona. Porównania Stanisława Augusta z Henrykiem pojawiające się w poezji, anegdotach i mowach sejmowych tego okresu pokazują, że zestawienie to funkcjonowało w świadomości społecznej, jednak ze względu na realia polityczne upadającego państwa polsko-litewskiego nie mogło być mocno eksploatowane bez narażenia się na śmieszność.
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40

Abramkin, Ivan A. "The Life of Elisabeth Vigée Le Brun as an Example of an Artist’s Biography at the Turn of the 18th-19th Centuries." Actual Problems of Theory and History of Art 8 (2018): 215–22. http://dx.doi.org/10.18688/aa188-2-20.

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41

Guichard, Charlotte. "Élisabeth Vigée Le Brun , Souvenirs 1755-1842 , texte établi, présenté et annoté par Geneviève Haroche-Bouzinac , Paris, Honoré Champion, 2008, 816 p." Dix-huitième siècle 41, no. 1 (August 28, 2009): CV. http://dx.doi.org/10.3917/dhs.041.0695da.

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42

Delorme, Franck. "Charles Juliet , Dominique Sterckx & Claude Vigée , Etty Hillesum . Histoire de la fille qui ne savait pas s’agenouiller . Arfuyen, 2007, 186 pages, 17,50 €." Études Tome 408, no. 1 (January 1, 2008): XXXVII. http://dx.doi.org/10.3917/etu.081.0117ak.

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43

Jones, Colin. "Élisabeth Vigée Le Brun, Souvenirs, 1755–1842. Énoncé des différents bruits. Conseils sur la peinture du portrait. Texte établi, présenté et annoté par Geneviève Haroche-Bouzinac." French Studies 71, no. 2 (March 16, 2017): 269–70. http://dx.doi.org/10.1093/fs/knx067.

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44

Percival, Melissa. "Vigée Le Brun. By Joseph Baillio, Katharine Baetjer, and Paul Lang; contributions by Ekaterina Deryabina, Gwenola Firmin, Stéphane Guégan, Anabelle Kienle Poňka, Xavier Salmon, and Anna Sulimova." French Studies 71, no. 2 (March 21, 2017): 268–69. http://dx.doi.org/10.1093/fs/knx075.

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45

Biancani, Stefania. "Quando la regina lascia la corona e va in giardino: Alcune osservazioni sul ritratto della sovrana da Maria Antonietta ai Windsor e sull’eredità di Élisabeth Vigée Le Brun." IKON 5 (January 2012): 281–92. http://dx.doi.org/10.1484/j.ikon.5.100669.

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46

Nicault, Catherine. "Claude Vigée, La Lune d’hiver. Récit – Journal – Essai , Paris, Honoré Champion, coll. « Bibliothèque d’études juives » sous la direction de Daniel Tollet, « Série Littérature » sous la direction de Catherine Coquio, 2002, 406 p." Archives Juives Vol. 35, no. 2 (September 1, 2002): IV. http://dx.doi.org/10.3917/aj.352.0152d.

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47

Désormeaux, Monique. "Virée." L'en-je lacanien 26, no. 1 (2016): 217. http://dx.doi.org/10.3917/enje.026.0217.

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48

Vigée, Claude. "Claude Vigée." LittéRéalité 6, no. 2 (September 1, 1994). http://dx.doi.org/10.25071/0843-4182.27336.

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49

Wilson, Erin. "Drafting an image of success: the Russian patronage of émigré Elisabeth Louise Vigée Lebrun." Renaissance Studies, September 25, 2024. http://dx.doi.org/10.1111/rest.12968.

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Abstract:
AbstractPainted as a stipulation of her honorary admission into Russia's Imperial Academy of Arts, Elisabeth Louise Vigée Lebrun's (1755–1842) Self‐Portrait of 1800 is notable for having been produced at the culmination of a decade spent in exile. It depicts a strong, triumphant woman at the height of her career. Despite substantial research into other areas of her life, Vigée Lebrun's time spent as an émigré has been little studied. Fleeing France at the onset of the Revolution in 1789, she travelled extensively throughout Europe. Although her early years abroad, from 1789 to 1795, are marked by a sense of constant relocation, her later years in Russia are notable for her prodigious output and her stable existence in Saint Petersburg. This article seeks to highlight the importance of Vigée Lebrun's time at the court of Catherine the Great and her son Paul I in relation to her broader émigré experience. It illuminates how exile in Russia, far from condemning Vigée Lebrun to obscurity, fostered her career in ways that other countries had not.
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50

Brosnan, Kelsey. "Vigée Le Brun: Woman Artist in Revolutionary France." Nineteenth-Century Art Worldwide 15, no. 3 (October 15, 2016). http://dx.doi.org/10.29411/ncaw.2016.15.3.16.

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