It is edged in white frills around the neckline and white cuffs around the wrists. She wears a dusty pink cotton dress known as a chemise en gaulle and later known as a chemise à la Reine since it was popularized by Queen Marie Antoinette in the 1780s. Élisabeth Louise Vigée Le Brun, Self Portrait in a Straw Hat, 1782, National Gallery, London, UK. It is captivating with its colors, fabrics, skin tones, and social implications. Élisabeth Louise Vigée Le Brun’s Self Portrait in a Straw Hat could be such a portrait. His or her image captivates us, and sometimes we do not understand the reason. Why are portrait paintings sometimes so striking and unique, and yet, most of the time, considered to be boring? We can walk through the halls of portrait galleries passing face after face, and then suddenly be struck by the originality of one person. Her Self Portrait in a Straw Hat shows this and more. Élisabeth Louise Vigée Le Brun was a powerhouse of ambition, determination, and hard work. She pursued a career dominated by male rivals and became the most successful portraitist of her time. She lacked high status, formal education, and social equality but still rose above these formidable barriers. ![]() She was the portrait painter to Queen Marie Antoinette, an officially accepted member of the Académie Royale, and one of the first female artists to gain international recognition. Élisabeth Vigée Le Brun was a prominent artist, she gained great success in 18th-century France. ![]() To celebrate our artistic diversity let’s discuss the self-portrait of one of the greatest female artists – Élisabeth Louise Vigée Le Brun. ![]() Why is art history predominantly focused on male artists? Are there not enough female artists to fill textbooks? Of course, there are enough, but the idea of an artist as a male genius has a long legacy and it continues even today.
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