Several things follow from this. Firstly, the pastellist will normally chose the framer, and typically will work with the same framer at least for a period:
He was the youngest of eleven children born to Charles Sapey c. Having completed his studies before the outbreak of the French Revolution — he was originally destined for the priesthood — Charles Sapey entered the military academy at Tournon.
He was apparently held as prisoner for a period of two months at the time of the siege of Mantua in In Sapey was put in charge of the company that controlled shipping between Continental Europe and the island of Corsica.
Over time, these assignments must have netted him considerable wealth. Lucien was named Minister of the Interior, and Sapey remained at his side as one of his private secretaries. Sapey was posted there the following year as one of the secretaries of the French legation.
During the Hundred Days, while remaining faithful to the Bonapartes, Sapey played no active part and lived in seclusion on his estate. Following the fall of the Napoleonic Empire and the inauguration of Louis XVIII, Charles Sapey remained steadfastly loyal to his friend, Lucien, pursuing a political career in the Chamber of Deputies, where for many years he sat with the liberal opposition fig.
This makes the commissioning of the present portrait rather perplexing. It may be explained by the fact that the artist had gotten along rather well with Lucien Bonaparte, himself an art aficionado who greatly admired her three-quarter-length Emma Hamilton as the Sybil of Cumes ofnow at Ramsbury Manor, Wiltshire.
The couple had three daughters — Marie-Caroline c. Sapey, in his mid-forties at the time this portrait was painted, has a head distinguished by its angular features. His dark hair and sideburns are swept forward onto his forehead and around his temples.
His eyebrows are strongly arched above piercing blue eyes, and his gaze, seen through slightly drooping eyelids, as well as his closed mouth above an aristocratic cleft chin give him an almost haughty appearance. A gray scumble enlivens the pinkish ochre ground to which it has been applied.Elisabeth Vigee Le Brun; Capturing Life While Living Life Elizabeth-Louise Vigée-Le Brun Essay (Kathy Brinez) Module 1 written assignment, chapters Elizabeth-Louise Vigée-Le Brun was a French artist born in Paris, France on April 16, She is considered to be one of women that changed the world and one of the.
Carissa Hardy Women Artists Dr. McAlister March 27, Elisabeth-Louise Vigée-Le Brun France Marie- Antoinette and her Children Oil on canvas x cm. Château de Versailles Oxford Art Online This is a two- dimensional portrait of Marie Antoinette and her children.
It looks like it was painted on canvas, so it is an easel painting. The woman and children are very. Élisabeth Louise Vigée Le Brun, Souvenirs, Paris, , III, p. Lot Essay Jean Charles Sapey, captured in this handsome portrait by Louise Vigée Le Brun during the Second Bourbon Restoration, served his country as a military officer, a civil administrator and a legislator.
Buy Tickets Exhibitions are free with Museum admission. Showcasing ninety paintings and pastels, this handsome volume presents scholarly essays, a chronology, and a map of the artist's travels. Elisabeth Louise Vigée Le Brun (French, –) is one of the finest 18th-century French painters.
Elisabeth Louise Vigée- Lebrun and the Aristocratic Life-Style Essay - Elisabeth Vigée-Lebrun was one of the most successful painters of her time. Over the course of her life, spanning from , she painted over works. Elizabeth-Louise Vigee-Le Brun’s goal through “Marie-Antoinette and Her Children” was to create an image of the Queen that would appeal to the common folk.
The composition of the portrait shows good relations between the children and their mother.