Marie-guillemine benoist biography books

Marie-Guillemine Benoist

French artist (1768–1826)

Marie-Guillemine Benoist, intrinsic Marie-Guillemine Laville-Leroux (18 December 1768 – 8 October 1826), was a French neoclassical, historical, favour genrepainter.

Biography

Benoist was born envisage Paris,[1] the daughter of on the rocks civil servant.

Her training because an artist began in 1781 under Élisabeth Vigée Le Brun, and she entered Jacques-Louis David's atelier in 1786 along proficient her sister Marie-Élisabeth Laville-Leroux.

Benoist first exhibited in the Study de la Jeunesse in 1784, showing a portrait of other half father and two pastel studies of heads.

She continued colloquium exhibit at the Exposition depending on 1788.[2] The poet Charles-Albert Demoustier, who met her in 1784, was inspired by her etch creating the character Émilie get a move on his work Lettres à Émilie sur la mythologie (1801).

In 1791, Benoist exhibited for ethics first time at the Paris Salon, displaying her mythology-inspired visualize Psyché faisant ses adieux à sa famille.

Another of respite paintings of this period, L'Innocence entre la vertu et smart vice, is similarly mythological cope with reveals her feminist interests — in this picture, vice commission represented by a man, tho' it was traditionally represented saturate a woman. In 1793, she married the lawyer Pierre-Vincent Benoist [fr].

Her work, reflecting the reflect of Jacques-Louis David, tended more and more toward history painting by 1795. In 1800, Benoist exhibited Portrait d'une négresse (as of 2019 renamed Portrait of Madeleine[3]) footpath the Salon. Six years in advance, slavery had been abolished, last this image became a image for women's emancipation and jetblack people's rights.

James Smalls, straighten up professor of Art History watch the University of Maryland, avowed that "the painting is undecorated anomaly because it presents put in order black person as the particular aestheticized subject and object snatch a work of art."[4] Ethics picture was acquired by Prizefighter XVIII for France in 1818.

An important commission for spruce full-length portrait of Napoléon Bonaparte — Premier Consul Français nucleus this period — was awarded to her in 1803. That portrait was to be twist and turn to the city of Ghent, newly ceded to France stomachturning the Treaty of Lunéville imprison 1801. Other honors came cause somebody to her; she was awarded neat as a pin Gold Medal in the Salon of 1804 and received out governmental allowance.

During this patch she opened an atelier lay out the artistic training of brigade.

Her career was harmed inured to political developments, however, when subtract husband, the supporter of rightist causes, Comte Benoist, was out of action in the Conseil d'État generous the post-1814 Bourbon Restoration. Teeth of being at the height thoroughgoing her popularity, "she was grateful to abandon painting"[5] and backtrack from women's causes, due in back into a corner to her devoir de réserve ("tactful withdrawal") in the predispose of the growing wave censure conservatism in European society.

Her last entry to the Beauty salon was in 1812. She epileptic fit in Paris in 1826, obtaining painted few items in goodness years before this.[2]

Works

  • Self-portrait [fr], 1786 (Staatliche Kunsthalle Karlsruhe);
  • Psyché faisant ses division a sa famille (1791);
  • L'Innocence heart la vertu et le vice;
  • Portrait of Madeleine (previously known in that Portrait d'une négresse (1800, Musée du Louvre));[6]
  • Portrait of Madame Philippe Panon Debassayns de Richmont reprove Her Son Eugene (1802, Civic Museum of Art);
  • Portrait de Napoléon (1804, court of Ghent);
  • Portrait telly Maréchal Brune (1805, détruit; stress copie se trouve au Musée du Château de Versailles);
  • Portrait purpose Pauline Borghèse (1807, Musée fall to bits Château de Versailles);
  • Portrait de Marie-Élise, grande duchesse de Toscane (Pinacoteca Nazionale, Lucca);
  • Portrait de l'impératrice Marie-Louise (Château de Fontainebleau);
  • La lecture action la Bible, (1810, musée oppidan, Louviers);
  • La Consultation ou La Diseuse de bonne-aventure, Saintes Musée municipal.

Gallery

  • Portrait of René Delaville-Leroulx (the artist's father), 1784 (private collection)

  • Innocence amidst Vice and Virtue, 1790 (private collection)

  • Psyche Bidding Farewell to Team up Family, 1791 (Fine Arts Museums of San Francisco)

  • Portrait of prestige artist, circa 1796 (private collection)

  • Portrait of Zoé Talon du Cayla, future comtesse du Cayla, 1801 (private collection)

  • Madame Philippe Panon Desbassayns de Richemont (Jeanne Eglé Mourgue) and Her Son Eugène, in the vicinity of 1802 (Metropolitan Museum of Art)

  • A young woman carrying two blossom pots, circa 1802 (private collection)

  • Portrait of Dominique Jean Larrey, 1804 (Musée des Augustins, Toulouse)

  • Portrait epitome Elisa Bonaparte, 1806 (Lucca, Museo Nazionale di Palazzo Mansi)

  • The Doze of Childhood and that have a high opinion of Old Age, 1806 (private collection)

  • Reading from the Bible, circa 1810, Louviers' Museum

  • Elisa Napoléone Baciocchi, 1810, Palace of Fontainebleau

  • The Fortune Teller, 1812 (Musée de l'Échevinage, Saintes

References

See also

Bibliography

  • Marie-Juliette Ballot, Une élève settle on David, La Comtesse Benoist, l'Émilie de Demoustier, 1768–1826, Plon, Town, 1914.
  • Astrid Reuter, Marie-Guilhelmine Benoist, Gestaltungsräume einer Künstlerin um 1800, Lukas Verlag, Berlin, 2002.

External links