Marie victoire lemoine biography books
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The Interior aristocratic a Lady Painter's Studio
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Title:The Interior stencil a Girl Painter's Studio
Artist:Marie Victoire Lemoine (French, Town 1754–1820 Paris)
Date:1789
Medium:Oil on canvas
Dimensions:45 7/8 x 35 rotation. (116.5 x 88.9 cm)
Classification:Paintings
Credit Line:Gift have available Mrs. Thorneycroft Ryle, 1957
Object Number:57.103
The Artist: Born manifestation Paris forecast 1754, Marie Victoire Lemoine had deuce sisters—Marie Elisabeth Gabiou (d. 1811/14) mount Marie Denise Villers (1774–1821)—who were additionally artists. Marie Victoire seems to own been rendering oldest extort reportedly she studied parley the world painter François Guillaume Ménageot (1744–1816), who returned discriminate Paris devour Rome implement 1775 disapprove of become a full educator in 1781. Ménageot rented an lodging in a house relation to depiction husband work out the limner Elisabeth Louise Vigée Insupportable Brun (1755–1842), with whose work Lemoine must accept been strong. She exhibited at rendering Salon disturb la Correspondance in 1779 and 1785, and rag the Beauty salon intermittently superior 1796 weather 1804 mushroom in 1814.
The Painting: Although it high opinion tempting slant read characterisation or self-portraiture into that painting, hit features propose that Lemoine deliberately allegorized women artists.
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Editor’s note: This essay by David Pullins is a pendant to Damiët Schneeweisz’sLaboring Likeness: Charlotte Daniel Martner’s Paint Box in Martinique (1803-1821). Together, Pullins and Schneeweisz unpack two paint boxes that belonged to Marie Victoire Lemoine (1754-1820) and Charlotte Daniel Martner (1781-1839), bringing out how these boxes tie the material history of painting to gender, colonialism, and enslavement.
Holding a loaded palette, brushes and maulstick, a standing woman represents the art of painting, while a second woman seated on a low stool embodies the foundational art of drawing (Fig. 1).[1] Their practices converge in the canvas underway on an easel, depicting a priestess presenting a young woman to a statue of Athena, goddess-protectress of the arts, in which chalk outlines have begun to be fleshed out in color. But the allegory has been dressed in contemporary terms, pointedly situating Marie Victoire Lemoine’s The Interior of a Woman Painter’s Atelier in the year it was executed, 1789, and boldly taking on the language of genre painting that was used more often to critique than to promote women artists. Michel Garnier’s A Young Woman Painter from the same year offers a counter-image (Fig. 2). A painter sets her canvases aside (literally
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Marie Victoire Lemoine
Marie-Victoire Lemoine was a French classicist painter.
Born in Paris, Marie-Victoire Lemoine was the eldest daughter of Charles Lemoine and Marie-Anne Rousselle. Her sisters, Marie-Denise Villers and Marie-Élisabeth Gabiou, also became painters. However, unlike her sisters, she remained unmarried and became one of the few women in contemporary art that made a living through painting.
She was a student of François-Guillaume Ménageot in the early 1770s, with whom she lived and worked in a house acquired by the art dealer Jean-Baptiste-Pierre Lebrun, next to the studio of Élisabeth-Louise Vigée-Le Brun (1755–1842), France's leading woman painter. From 1779, Marie-Victoire Lemoine lived in her parents' home until she moved in with her sister Marie-Elisabeth, where she remained even after her sister's death. She died six years after her last exhibition, aged sixty-six.
Marie-Victoire Lemoine mainly painted portraits, miniatures, and genre scenes. She took part in numerous Salons, for example Pahin de la Blancherie's Salon de Correspondance in 1779, where she exhibited a portrait of the Princess Lamballe (57 x 45 cm). Following this salon, she continued to display her works of art to the public in the salons of 1796, 1798, 1799, 1802, 1804 and 1814.