DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.61284#0218
io6 VIGEE-LEBRUN
physical activity and strength late in middle life, and the noble head
and keen eyes, with the whole expression of the face, show force of will
and intelligence. The portraits of Vernet (Louvre) and Gretry (Versailles)
also suggest character as well as merely personal appearance; and the face
of the “ boy in red,” at the Wallace Gallery, indicates, with an understand-
ing that would be a valuable possession to any artist, the mingling of mis-
chief, impudence, and curiosity in a lively child. These are but examples,
of which a good many more could be found, of Vigee-Lebrun’s capacity for
something deeper than mere beauty of features and eyes and complexion.
In the case of her women’s portraits, those in which she strove to paint a
mind of keen intelligence are certainly in the minority, though by no means
few. Look, for examples, at the portraits of Madame Albrizzi, Madame
Vestris, and Madame Dugazon, reproduced in this book. The pictures of
herself suggest, in most instances, just the sort of nature that we know to
have been hers—bright, agreeable, and rather worldly.
We know her ideas on the practice of art rather better than those of
most painters. It may be said that we can tell from pictures what their
painters have thought about painting, but this test is far from conclusive.
Artists are as much subject to self-deception and illusion as any other
workers, and such a candidly written account of practical, businesslike
aims and methods in portraiture as Madame Lebrun prepared for the
instruction of her niece, Madame Tripier Lefranc is specially helpful to
the understanding of intentions and beliefs.
“ Always be ready half an hour before the sitter arrives,” she says,
“ so that you will not be hurried, or worried about other business.”
“ Before beginning, converse with your sitter ; try several poses, and
choose not merely the most pleasing, but that which is suitable to the
sitter’s age and character, as that may increase the resemblance.”
“Try to do the head, the face especially, in three or four sittings of
an hour and a half each—two hours at the longest - for if the sitter gets
tired and impatient the expression changes.”
With women sitters “ you must flatter them, tell them they are pretty,
that they have a fresh complexion, etc., etc. That puts them in a good
humour, and makes them sit with more pleasure. ... You must also
tell them that they pose admirably. ... You will do well to ask them
not to bring their friends, who will all want to express their views,
and will spoil everything. As to artists and people of taste, you can
ask their opinions. Do not be cast down if some people fail to find any
physical activity and strength late in middle life, and the noble head
and keen eyes, with the whole expression of the face, show force of will
and intelligence. The portraits of Vernet (Louvre) and Gretry (Versailles)
also suggest character as well as merely personal appearance; and the face
of the “ boy in red,” at the Wallace Gallery, indicates, with an understand-
ing that would be a valuable possession to any artist, the mingling of mis-
chief, impudence, and curiosity in a lively child. These are but examples,
of which a good many more could be found, of Vigee-Lebrun’s capacity for
something deeper than mere beauty of features and eyes and complexion.
In the case of her women’s portraits, those in which she strove to paint a
mind of keen intelligence are certainly in the minority, though by no means
few. Look, for examples, at the portraits of Madame Albrizzi, Madame
Vestris, and Madame Dugazon, reproduced in this book. The pictures of
herself suggest, in most instances, just the sort of nature that we know to
have been hers—bright, agreeable, and rather worldly.
We know her ideas on the practice of art rather better than those of
most painters. It may be said that we can tell from pictures what their
painters have thought about painting, but this test is far from conclusive.
Artists are as much subject to self-deception and illusion as any other
workers, and such a candidly written account of practical, businesslike
aims and methods in portraiture as Madame Lebrun prepared for the
instruction of her niece, Madame Tripier Lefranc is specially helpful to
the understanding of intentions and beliefs.
“ Always be ready half an hour before the sitter arrives,” she says,
“ so that you will not be hurried, or worried about other business.”
“ Before beginning, converse with your sitter ; try several poses, and
choose not merely the most pleasing, but that which is suitable to the
sitter’s age and character, as that may increase the resemblance.”
“Try to do the head, the face especially, in three or four sittings of
an hour and a half each—two hours at the longest - for if the sitter gets
tired and impatient the expression changes.”
With women sitters “ you must flatter them, tell them they are pretty,
that they have a fresh complexion, etc., etc. That puts them in a good
humour, and makes them sit with more pleasure. ... You must also
tell them that they pose admirably. ... You will do well to ask them
not to bring their friends, who will all want to express their views,
and will spoil everything. As to artists and people of taste, you can
ask their opinions. Do not be cast down if some people fail to find any