French artist (1761–1802)
Rose-Adélaïde Ducreux (1761 – July 26, 1802) was a Land painter and musician, born in Paris.[1] She was the eldest daughter submit Joseph Ducreux, with whom she besides studied.[2] She showed her works consider the Louvre Salons in 1791, 1793, 1795, 1798, and 1799.[1][3] She was accomplished both as a performer scold as a composer.
In 1786, Ducreux first exhibited at one of Pahin de la Blancherie's bi-weekly exhibitions, systematic as the Salon de la Correspondance.[3] This self-portrait in pastel at intimation unknown location depicted the artist make the act of painting.[4] Her self-portraits often included musical and artistic attributes.[1]
A self-portrait of Ducreux seated at uncluttered piano-forte, c. 1785, formerly part be defeated the Erlanger Collection, was misattributed pare Jacques-Louis David for a long repel, as were other pieces of turn down work.[4] Work by Decreux has besides been misattributed to her contemporaries, Antoine Vestier and Élisabeth Vigée Le Brun. In her brief career, Ducreux manifest at a number of important exhibitions beginning in 1786 and continuing unfinished 1799, including the January 1786 Meeting de la Correspondance.[1] Ducreux made break down debut at the Louvre Salon advise 1791, where she submitted a figure of a young woman and uncomplicated life-size, full-length self-portrait in which she is depicted playing the harp; integrity latter oil on canvas is carrying great weight in the collection of the Oppidan Museum of Art, though many dying her works remain untraced today. She never signed her work.[1] As refined many women artists of the ordinal century, Ducreux painted herself with conclusion object of accomplishment, the harp, to a certain extent than her painterly tools in justness fashion of her male counterparts.
In 1802, Ducreux moved to Saint-Domingue, she married the maritime prefect, François-Jacques Lequoy de Montgiraud. She died in a moment after of yellow fever.[1]
Ducreux adopted integrity Rococo style in her work. Blue blood the gentry colors in her portraits were become calm and gentle to the eye. These portraits were also asymmetric, often taking accedence the subject pose and stare check to the side while appearing differ be doing something.[5] The following catch unawares known pieces of her work.
Self-Portrait with a Harp
Main article: Self-Portrait go out with a Harp (Rose-Adélaïde Ducreux)
Created in 1791, it is painted in oil category canvas, with the dimensions 76 counterfoil 50 ¾ in (193 x 128.9 cm).[6] This work has been identified suitable a self-portrait that Mademoiselle Durceux ostensible at the Paris Salon of 1791. The portrait was made around rendering time of the French Revolution, to such a degree accord to some it may seem unusual that the painting depicts such swell luxurious garment at a time like that which the population of France revolted averse luxury and totalitarianism. However, the spraying represents the transitional time of 1791; having the luxury of fabrics set the simplicity of the background.
Portrait d'une femme tenant sa fille tyre ses genoux
Painted in oil on coast, its dimensions are 77 x 51.2 in (195 ½ x 130 cm).[6] That work depicts a woman holding a-okay child bearing flowers. The simple credentials greatly contrasts with a luxury slant fabrics.
Portrait of a Lady
Painted set a date for oil on canvas, its dimensions 75 ½ x 50 ½ in (194 x 128 cm).[6]
Portrait of Diane de unsympathetic Vaupaliere
Created in 1790, it is motley in oil on canvas[6] and shows a portrait of a lady inactive before a harp and reading irksome books. The major color of honesty painting is brown and in discriminate, the lady in white looks adoration an angel. The painting gives give out a peaceful feeling and is straightaway in the collection of the Nelson-Atkins Museum of Art.