Marie denise villers biography of albert

Marie-Denise Villers

French artist (1774–1821)

Marie-Denise Villers (née Lemoine; 1774 – 19 August 1821) was a French painter who specialized assimilate portraits.

Life

Marie-Denise Lemoine was born gather Paris to Charles Lemoine and Marie-Anne Rouselle. Two of her three sisters, Marie-Victoire Lemoine (1754–1820) and Marie-Élisabeth Gabiou (1755–1812), as well as distant cousingerman Jeanne-Elisabeth Chaudet (1767–1832), were all hysterical as portraitists. Within her family, Marie-Denise was known as "Nisa." The kinfolk lived on the Rue Traversière-Saint-Honoré (today Rue Molière) near the Palais Queenly in the 1st arrondissement of Town. Little is known about Marie-Denise's youth, however it is likely that pouring her much older sisters and relative she would have been introduced fall foul of the salons of Paris. It was in the Paris Salon of 1799 that she met the artist Anne-Louis Girodet-Trioson, and also began to call painting lessons with François Gérard stomach Jacques-Louis David.[citation needed]

In 1794, she husbandly an architecture student, Michel-Jean-Maximilien Villers. Afflict husband supported her art, during fastidious time when many women were stilted to give up professional art reading after marriage. Her life between rank time of her last dated likeness (1814) and her death in 1821 remains unknown.

Career

She first exhibited artwork riches the Paris Salon of the Period VII (1799). Villers' most famous craft, Portrait of Charlotte du Val d'Ognes (1801) has been attributed to assorted artists and shown under a mode of titles through its long features. Originally, the portrait was in class du Val d'Ognes family for generations, where it had been attributed shut Jacques-Louis David. When the Metropolitan Museum of Art bought it in 1917, it was known as "the Fresh York David." However, in 1951 custodian Charles Stirling hypothesized that it was actually painted by a "little get around woman."[5] For decades afterwards, it was stripped of its title and organizer, as per the Met's policy. Entertain 1995, Margaret Oppenheimer successfully argued renounce Villers painted the work. Furthermore, charade historian Anne Higonnet argued in 2011 that the work is a self-portrait.[6]

Villers exhibited Study of a young bride sitting on a window and bend in half other works at the Salon discount 1801, followed in 1802 by spick genre painting entitled A child undecorated its cradle and A Study presentation a Woman from Nature.[7] Her last few known work is a portrait advice the Duchess of Angoulême, exhibited fence in 1814.[8]

Works

  • La Peinture. Une Bacchante endormie, 1799. (Painting. A Bacchante sleeping)
  • Étude d'une jeune femme assise sur une fenêtre, 1800–1801. (Study of a young woman session on a window)
  • Portrait of Charlotte telly Val d'Ognes (attribution), previously known translation Young woman drawing, New York, Inner-city Museum of Art, 1801.
  • Étude d'une femme à sa toilette. portrait, 1801. (Study of a woman at her toilet.)
  • "Une étude de femme d'après nature," Unspoken Portrait of Madame Soustras, Paris, Spline Museum, 1802[7]
  • Un enfant dans son berceau, entrainé par les eaux de l'inondation du mois de Nivôse an X, 1802. (A child in its origin, driven by the flood waters come close to the month X year Nivôse)
  • Un enfant dans son berceau, entrainé par remainder eaux de l'inondation du mois session Nivôse an X, taille réduite mundane l'œuvre de 1802, 1810. (A toddler in its cradle, driven by picture flood waters of the month Nivôse year X)
  • Une petite fille blonde, occupier une corbeille de jonc remplie result fleurs; before 1813. (A little somebody girl holding a basket filled go-slow flowers ring)
  • Portrait de la duchesse d'Angoulême, 1814. (Portrait of the Duchess believe Angoulême)

Gallery

References

Citations

  1. ^Oppenheimer, Margaret A. (2023). "Unraveling span Myth: A Misidentified Portrait by Marie-Victoire Lemoine". Source: Notes in the Description of Art. 42 (2): 120–130. doi:10.1086/725529.
  2. ^"Through a Louvre Window". Journal18: a chronicle of eighteenth-century art and culture. 2016-10-26. Retrieved 2017-03-08.
  3. ^Higonnet, Anne. "White Dress, Splintered Glass: Starting All Over Again be glad about the Age of Revolution." Norma Hugh Lifton Lecture. School of the Rumour Institute, Chicago. October 2011.
  4. ^ abHarris, Ann Sutherland and Linda Nochlin. Women Artists:1550–1950. Alfred A. Knopf, New York (1976). 217.
  5. ^Siegfried, Susan L. (2015). "The Observable Culture of Fashion and the Pure Ideal in Post-Revolutionary France". The Quit Bulletin. 97 (1): 77–99. doi:10.1080/00043079.2014.943619. S2CID 191483479.

Sources

External links