Part 47 (1/2)
VERELST, MARIAN. Born in 1680. This artist belonged in Antwerp and was of the celebrated artistic family of her name. She was a pupil of her father, Hermann, and her uncle, Simon Verelst. She became famous for the excellent likenesses she made and for the artistic qualities of her small portraits.
Like so many other artists, she was distinguished for accomplishments outside her art. She was a fine musician and a marvel in her apt.i.tude in acquiring both ancient and modern languages. A very interesting anecdote is related of her, as follows: When in London, one evening at the theatre she sat near six German gentlemen, who expressed their admiration of her in the most flattering terms of their language, and at the same time observed her so closely as to be extremely rude. The artist, in their own tongue, remarked that such extravagant praise was the opposite of a compliment. One of them repeated his words in Latin, when she again replied in the same language. The strangers then asked her if she would give them her name. This she did and further told them that she lived with her uncle, Simon Verelst. In the end she painted the portrait of each of these men, and the story of their experience proved the reason for the acquaintance of the artist being sought by people of culture and position. Walpole speaks in praise of her portraits and also mentions her unusual attainments in languages.
VIGeE, MARIE LOUISE ELIZABETH. Member of the French Academy. Born in Paris in 1755. That happy writer and learned critic, M. Charles Blanc, begins his account of her thus: ”All the fairies gathered about the cradle of Elizabeth Vigee, as for the birth of a little princess in the kingdom of art. One gave her beauty, another genius; the fairy Gracious offered her a pencil and a palette. The fairy of marriage, who had not been summoned, told her, it is true, that she should wed M. Le Brun, the expert in pictures--but for her consolation the fairy of travellers promised her that she should bear from court to court, from academy to academy, from Paris to Petersburg, and from Rome to London, her gayety, her talent, and her easel--before which all the sovereigns of Europe and all those whom genius had crowned should place themselves as subjects for her brush.”
[Ill.u.s.tration: A FRENCH PRINCE
MARIE VIGeE LE BRUN]
It is difficult to write of Madame Le Brun in outline because her life was so interesting in detail. Though she had many sorrows, there is a halo of romance and a brilliancy of atmosphere about her which marks her as a prominent woman of her day, and her autobiography is charming--it is so alive that one forgets that she is not present, telling her story!
The father of this gifted daughter was an artist of moderate ability and made portraits in pastel, which Elizabeth, in her ”Souvenirs,” speaks of as good and thinks some of them worthy of comparison with those of the famous Latour. M. Vigee was an agreeable man with much vivacity of manner. His friends were numerous and he was able to present his daughter to people whose acquaintance was of value to her. She was but twelve years old at the time of his death, and he had already so encouraged her talents as to make her future comparatively easy for her.
Elizabeth pa.s.sed five years of her childhood in a convent, where she constantly busied herself in sketching everything that she saw. She tells of her intense pleasure in the use of her pencil, and says that her pa.s.sion for painting was innate and never grew less, but increased in charm as she grew older. She claimed that it was a source of perpetual youth, and that she owed to it her acquaintance and friends.h.i.+p with the most delightful men and women of Europe.
While still a young girl, Mlle. Vigee studied under Briard, Doyen, and Greuze, but Joseph Vernet advised her to study the works of Italian and Flemish masters, and, above all, to study Nature for herself--to follow no school or system. To this advice Mme. Le Brun attributed her success.
When sixteen years old she presented two portraits to the French Academy, and was thus early brought to public notice.
When twenty-one she married M. Le Brun, of whom she speaks discreetly in her story of her life, but it was well known that he was of dissipated habits and did not hesitate to spend all that his wife could earn. When she left France, thirteen years after her marriage, she had not so much as twenty francs, although she had earned a million!
She painted portraits of many eminent people, and was esteemed as a friend by men and women of culture and high position. The friends.h.i.+p between the artist and Marie Antoinette was a sincere and deep affection between two women, neither of whom remembered that one of them was a queen. It was a great advantage to the artist to be thus intimately a.s.sociated with her sovereign lady. Even in the great state picture of the Queen surrounded by her children, at Versailles, one realizes the tenderness of the painter as she lovingly reproduced her friend.
Marie Antoinette desired that Mme. Le Brun should be elected to the Academy; Vernet approved it, and an unusual honor was shown her in being made an Academician before the completion of her reception picture. At that time it was a great advantage to be a member of the Academy, as no other artists were permitted to exhibit their works in the Salon of the Beaux-Arts.
Mme. Le Brun had one habit with which she allowed nothing to interfere, which was taking a rest after her work for the day was done. She called it her ”calm,” and to it she attributed a large share of her power of endurance, although it lost her many pleasures. She could not go out to dinner or entertain at that hour. The evening was her only time for social pleasures. But when one reads her ”Souvenirs,” and realizes how many notable people she met in her studio and in evening society, it scarcely seems necessary to regret that she could not dine out!
Mme. Le Brun was at one period thought to be very extravagant, and one of her entertainments caused endless comments. Her own account of it shows how greatly the cost was exaggerated. She writes that on one occasion she invited twelve or fifteen friends to listen to her brother's reading during her ”calm.” The poem read was the ”Voyage du jeune Anacharsis en Grece,” in which a dinner was described, and even the receipts for making various sauces were given. The artist was seized with the idea of improvising a Greek supper.
She summoned her cook and instructed her in what had been read. Among her guests were several unusually pretty ladies, who attired themselves in Greek costumes as nearly as the time permitted. Mme. Le Brun retained the white blouse she wore at her work, adding a veil and a crown of flowers.
Her studio was rich in antique objects, and a dealer whom she knew loaned her cups, vases, and lamps. All was arranged with the effect an artist knows how to produce.
As the guests arrived Mme. Le Brun added here and there an element of Grecian costume until their number was sufficient for an effective _tableau vivant_. Her daughter and a little friend were dressed as pages and bore antique vases. A canopy hung over the table, the guests were posed in picturesque att.i.tudes, and those who arrived later were arrested at the door of the supper-room with surprise and delight.
It was as if they had been transported to another clime. A Greek song was chanted to the accompaniment of a lyre, and when the honey, grapes, and other dishes were served _a la Grecque_, the enchantment was complete.
The poet recited odes from Anacreon and all pa.s.sed off delightfully.
The fame of this novel supper was spread over Paris, and marvellous tales were told of its magnificence and its cost. Mme. Le Brun writes: ”Some ladies asked me to repeat this pleasantry. I refused for various reasons, and several of them were disturbed by my refusal. Soon a report that the supper had cost me twenty thousand francs was spread abroad. The King spoke of it as a joke to the Marquis of Cubieres, who fortunately had been one of the guests and was able to convince His Majesty of the folly of such a story. Nevertheless, the modest sum of twenty thousand at Versailles became forty thousand at Rome; at Vienna the Baroness de Strogonoff told me that I had spent sixty thousand francs for my Greek supper; you know that at Petersburg the price at length was fixed at eighty thousand francs, and the truth is that it cost me about fifteen francs!”
Early in 1789, when the warnings of the horrors about to take place began to be heard, Mme. Le Brun went to Italy. In each city that she visited she was received with great kindness and many honors were shown her. In Florence she was invited to paint her own portrait, to be hung in that part of the Uffizi set apart for the portraits of famous painters. Later she sent the well-known portrait, near that of Angelica Kauffman. It is interesting to read Goethe's comparison of the two portraits.
Speaking of Angelica's first, he writes: ”It has a truer tone in the coloring, the position is more pleasing, and the whole exhibits more correct taste and a higher spirit in art. But the work of Le Brun shows more careful execution, has more vigor in the drawing, and more delicate touches. It, has, moreover, a clear though somewhat exaggerated coloring.
The Frenchwoman understands the art of adornment--the headdress, the hair, the folds of lace on the bosom, all are arranged with care and, as one might say, _con amore_. The piquant, handsome face, with its lively expression, its parted lips disclosing a row of pearly teeth, presents itself to the beholder's gaze as if coquettishly challenging his admiration, while the hand holds the pencil as in the act of drawing.
”The picture of Angelica, with head gently inclined and a soft, intellectual melancholy pervading the countenance, evinces higher genius, even if, in point of artistic skill, the preference should be given to the other.”