Portrait of a Duchess C.1780, Circle Elizabeth Vigee Lebrun (1755 - 1842)

This informal pose is an intimate portrayal of an elegant young woman captured at her dressing table (which has been laid out with a mirror and other accoutrements - evidence of privilege and wealth). If only the sitter were to know what the future were to bestow upon her family… it is thought that they were on the wrong side of the Revolution and forced to flee, and their many estates confiscated.

The graceful composition, and rich and delicate brushwork create an alluring image and the light palette and softness result in an airbrushed finish in line with the Rococo movement and the work of ‘Madame Lebrun’. The image illustrates the artist's virtuosic handling of material. Lebrun’s elegant portraits were very popular with European high society and led her to become Marie-Antoinette's painter in 1779. The work is still very much in demand as seen in the results of a sale at Christies New York in 2014 where a portrait from Lebrun’s circle achieved $93,750.

The artist has emblazoned the portrait with the sitter’s coat of arms and an inscription identifies the sitter - possibly the wife of François-Etienne Le Compte de de Rurange, marquis de Blainville. The Duchat of Rurange was an ancient noble family from the area of Metz, France, and descended from John the Duchat in 1493.

An utterly beautiful painting and an expression of feminine beauty. Framed in a gilt antique frame.

Measurements: Height 90.5cm, Width 74.5cm framed (Height 35.5”, Width 29.25” framed)

Elisabeth Vigee-Le Brun (1755-1842) was born in Paris. At an early age she showed talent in drawing and first received artistic training from her father. After her father’s death she became a pupil of the famous history painter Gabriel François Doyen, who was also a family friend. She later progressed rapidly after making connections. In her Souvenirs, Lebrun described how Vernet (1714–1789), the famous landscape and seascape painter, encouraged her artistic endeavors. He backed her admission to the Académie in 1783 even though there was a strong movement against women being admitted to the institution. She later became the official painter to the Queen but was forced to flee during the Revolution and travelled to Europe making a Grant Tour, working in other European courts, and painting incessantly. Later, she was finally allowed to return to Paris.

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