Self-Portrait by Vigee Le Brun with her daughter Julie (1789)

 

During the final decades of the eighteenth century, mythological and legendary themes reigned supremely, like David's "Death of Socrates", "Oath of the Horatii", etc. But a female painter, Vigee Le Brun ushered in a distinction. During those times, aristocracy was not unreasonably enough associated with artifice and depravity. But this painting showcases authenticity, affection of a mother and love of her daughter. Le Brun was an official painter in the court of the queen of France, Marie Antoinette. When in the French Revolution in 1789 the queen was beheaded, Le Brun was also defenestrated, having her citizenship been revoked. However, after a few years, she is restored. She was an extremely popular and prominent artist, her fame having been dispersed around the continent. She has achieved great opuses in the countries like Italy, Austria, and England. 

The painting under review ostends a depth feeling not in vogue during the Rococo period. The loving embrace of the duo is tangible. Though, there is a sense of contingency in the intimacy, there is a political idea esoteric within the work. The unruly curly hair of Le Brun reinstates the sense of informality. The two bodies form a pyramid, symbolizing the idea of integrity and inseparability. Instead of ornate hoop skirts and long gowns used to be worn on formal occasions during eighteenth century, the artist limns herself in the classical Greek style, called a la grecque. This fashion statement dents the impact of aristocracy and nobility of Le Brun.