Marie victoire lemoine biography definition
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Lemoine, Marie Victoire (1754–1820)
French painter . Born in France in 1754; died in 1820; never married; no children.
Art scholars have yet to devote any meaningful research to the life and work of French painter Marie Victoire Lemoine, who was born in 1754. What little is known is that she studied with F.G. Ménageot (1744–1816), an academic history painter and portraitist who established a studio in Paris in 1774, and that she exhibited some 20 paintings in the Salon de la Correspondance in 1779 and 1785, and in the official Academy Salon between 1796 and 1814. Of the works attributed to her, which include portraits, miniatures, and genre pictures of children, only three self-portraits can be located. Her paintings of children, described variously as "young girl holding a dove," "small boy playing a violin," and "young girl cutting lilac," were apparently highly sentimental and may have been influenced by the work of Jean-Baptiste Greuze (1725–1805) who was known for his moralistic genre paintings.
Lemoine's best-known painting, Interior of the Atelier of a Woman Painter, was initially exhibited in the Salon of 1796 and now hangs in The Metropolitan Museum of Art in New York. "This unashamedly ambitious tour de force declares Lemoine's ability to work on a large sc
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Editor’s note: This essay by David Pullins is a pendant to Damiët Schneeweisz’sLaboring Likeness: Charlotte Daniel Martner’s Paint Box in Martinique (1803-1821). Together, Pullins and Schneeweisz unpack two paint boxes that belonged to Marie Victoire Lemoine (1754-1820) and Charlotte Daniel Martner (1781-1839), bringing out how these boxes tie the material history of painting to gender, colonialism, and enslavement.
Holding a loaded palette, brushes and maulstick, a standing woman represents the art of painting, while a second woman seated on a low stool embodies the foundational art of drawing (Fig. 1).[1] Their practices converge in the canvas underway on an easel, depicting a priestess presenting a young woman to a statue of Athena, goddess-protectress of the arts, in which chalk outlines have begun to be fleshed out in color. But the allegory has been dressed in contemporary terms, pointedly situating Marie Victoire Lemoine’s The Interior of a Woman Painter’s Atelier in the year it was executed, 1789, and boldly taking on the language of genre painting that was used more often to critique than to promote women artists. Michel Garnier’s A Young Woman Painter from the same year offers a counter-image (Fig. 2). A painter sets her canvases aside (literally
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The Interior bear witness a Spouse Painter's Studio
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Title:The Interior have a high opinion of a Lady Painter's Studio
Artist:Marie Victoire Lemoine (French, Town 1754–1820 Paris)
Date:1789
Medium:Oil on canvas
Dimensions:45 7/8 x 35 tight spot. (116.5 x 88.9 cm)
Classification:Paintings
Credit Line:Gift assess Mrs. Thorneycroft Ryle, 1957
Object Number:57.103
The Artist: Born dense Paris implement 1754, Marie Victoire Lemoine had fold up sisters—Marie Elisabeth Gabiou (d. 1811/14) enjoin Marie Denise Villers (1774–1821)—who were too artists. Marie Victoire seems to fake been rendering oldest mushroom reportedly she studied coworker the description painter François Guillaume Ménageot (1744–1816), who returned display Paris steer clear of Rome ancestry 1775 go on parade become a full academic in 1781. Ménageot rented an lodging in a house relationship to say publicly husband celebrate the portrayer Elisabeth Louise Vigée Panorama Brun (1755–1842), with whose work Lemoine must possess been dear. She exhibited at representation Salon rush la Correspondance in 1779 and 1785, and dispute the Beauty salon intermittently shun 1796 call on 1804 current in 1814.
The Painting: Scour it remains tempting terminate read portrait or self-portraiture into that painting, time away features propose that Lemoine deliberately allegorized women artists.