DOI Page / Citation link:
https://doi.org/10.11588/diglit.61284#0078
CHAPTER V
THE QUEEN’S PORTRAITS
A first sitting from the Queen—Marie Antoinette described by the artist—Were Vigee-Lebrun’s
portraits good likenesses ?—What Maria Theresa said of her daughter’s portrait—Grand
toilettes and simple dresses—The Queen sings duets with the artist—The Prince de
Bauffremont’s picture of the Queen by Vigee-Lebrun : how was it painted ?—The birth of
Vigee-Lebrun’s child—Madame de Verdun the “ friend in need ”—The Queen’s considerate
conduct—Vigee-Lebrun paints all the Royal Family except one—Scores of sitters waiting
their turns
FROM her own record, and from other sources, it is known that
Madame Lebrun had painted several portraits of the Queen before
she was accorded the favour of a sitting. These were either exact
copies of other people’s original drawings or paintings, or else variations
based on such works. She was willing to do them at low prices—from
240 to 480 francs apiece—seeing that they were in the nature of “ com-
mand” commissions, and were likely to lead to something better. Small
as the prices were, it was not easy to get paid. For the money due on two
pictures that were painted and delivered in 1777, costing 720 francs together,
she was obliged to write, two years later, evidently at the dictation of
Lebrun, a letter to the Controller-General of the Menus Plaisirs of the
King, in which she says : “You will do me the greatest service if you
will give me a special order which will enable me to obtain that trifling
amount. No service would be more highly appreciated by my husband,
at a moment when he is owed a considerable sum.”
Little worries of this kind were of no consequence in face of the
happiness which came to her when, according to her Souvenirs, in that
same year (1779) she was for the first time given sittings by the Queen.
At the first sitting, the imposing air which Marie Antoinette always
affected when strangers were present frightened the young artist “ pro-
digiously,” but the Queen spoke so kindly to her that her fears were speedily
removed. From that moment Madame Lebrun was so permanent a
devotee of her royal patroness that her description must be accepted with
29
THE QUEEN’S PORTRAITS
A first sitting from the Queen—Marie Antoinette described by the artist—Were Vigee-Lebrun’s
portraits good likenesses ?—What Maria Theresa said of her daughter’s portrait—Grand
toilettes and simple dresses—The Queen sings duets with the artist—The Prince de
Bauffremont’s picture of the Queen by Vigee-Lebrun : how was it painted ?—The birth of
Vigee-Lebrun’s child—Madame de Verdun the “ friend in need ”—The Queen’s considerate
conduct—Vigee-Lebrun paints all the Royal Family except one—Scores of sitters waiting
their turns
FROM her own record, and from other sources, it is known that
Madame Lebrun had painted several portraits of the Queen before
she was accorded the favour of a sitting. These were either exact
copies of other people’s original drawings or paintings, or else variations
based on such works. She was willing to do them at low prices—from
240 to 480 francs apiece—seeing that they were in the nature of “ com-
mand” commissions, and were likely to lead to something better. Small
as the prices were, it was not easy to get paid. For the money due on two
pictures that were painted and delivered in 1777, costing 720 francs together,
she was obliged to write, two years later, evidently at the dictation of
Lebrun, a letter to the Controller-General of the Menus Plaisirs of the
King, in which she says : “You will do me the greatest service if you
will give me a special order which will enable me to obtain that trifling
amount. No service would be more highly appreciated by my husband,
at a moment when he is owed a considerable sum.”
Little worries of this kind were of no consequence in face of the
happiness which came to her when, according to her Souvenirs, in that
same year (1779) she was for the first time given sittings by the Queen.
At the first sitting, the imposing air which Marie Antoinette always
affected when strangers were present frightened the young artist “ pro-
digiously,” but the Queen spoke so kindly to her that her fears were speedily
removed. From that moment Madame Lebrun was so permanent a
devotee of her royal patroness that her description must be accepted with
29