Born in April 1755, Vigée Le Brun was introduced to art by her father, who was a successful portrait painter. She wasn’t allowed to receive formal training at the Académie Royale (Royal Academy) due to her gender and was largely self-taught. The artist learnt by studying Old Masters alongside observing contemporary painters, though she also received some tutorship from artists Claude Joseph Vernet, Gabriel-François Doyen and Jean-Baptiste Greuze.
Vigée Le Brun demonstrated talent from a young age and was already attracting clients while a teenager. When she was 19, her studio was closed as artists weren’t allowed to work without guild or academy membership — which Vigée Le Brun had been denied due to her gender. Though she wasn’t able to join the Académie Royale, she managed to join the Académie de Saint-Luc in 1774, who admitted more female members. This guild membership helped grow her connections, and her network of patrons further expanded when she married art dealer Jean-Baptiste-Pierre Le Brun in 1776.
Vigée Le Brun was invited to Versailles to paint Queen Marie Antoinette in 1778. The queen was impressed by the artist's flattering approach to portraiture, with her works being distinct for their elegant style and emotional expression. She went on to paint more than 30 sittings of the queen over the next decade, with the portraits presenting the monarch as approachable yet dignified during a time of political unrest. Royal intervention also meant Vigée Le Brun was finally able to join Paris’ Académie Royale, making her one of only four female members.
The outbreak of the French revolution in 1789 had a dramatic impact on Vigée Le Brun’s career. Her closeness to the Royal family meant she left France with her daughter and spent the next 12 years working across Europe, where she painted nobility and members of the aristocracy. While living outside France, Vigée Le Brun painted several self-portraits, including one in 1794 which was sold by Christie’s in 2017 for US$1.5 million.
When she returned to France in the early 19th century, the artist spilt her time between her Paris residence and her country house at Louveciennes. Vigée Le Brun died in 1842, with scholars estimating she produced more than 600 paintings during her lifetime. Her works are renowned for their sophistication and warmth, with the artist achieving remarkable success within a male-dominated art world. Vigée Le Brun's memoir Souvenirs, published in the 1830s, has also been translated and reprinted numerous times.
Elisabeth-Louise Vigée Le Brun (Paris 1755-1842)
Portrait of the artist, bust-length
Elisabeth-Louise Vigée Le Brun (Paris 1755-1842)
Portrait of La maréchale-comtesse de Mailly, née Blanche Charlotte Marie Félicité de Narbonne Pelet (1761-1840), half-length
Élisabeth-Louise Vigée Le Brun (Paris 1755-1842)
Portrait of Madame du Barry (1743-1793), three-quarter-length, seated in a landscape
ELISABETH-LOUISE VIGÉE LE BRUN (PARIS 1755-1842)
Portrait of the artist's daughter, Jeanne-Julie-Louise Le Brun (1780-1819), playing a guitar
MARIE-LOUISE-ÉLISABETH VIGÉE-LEBRUN (PARIS 1755-1842)
Portrait présumé d'Ekaterina Vassilievna Skavronskaia, comtesse Litta
Élisabeth-Louise Vigée Le Brun (Paris 1755-1842)
Portrait of a young girl, half-length
Élisabeth-Louise Vigée Le Brun (Paris 1755-1842)
A young woman, bust-length, in a white blouse
Louise-Élisabeth Vigée Le Brun (Paris 1755-1842)
Portrait of a woman, half-length, in a yellow dress and white collar, with a plumed headdress
ATELIER DE LOUISE ELISABETH VIGEE LEBRUN (PARIS, 1755-1842)
Portrait de Marie-Antoinette
Elisabeth-Louise Vigée Le Brun (Paris 1755-1842)
Portrait of a junior officer of the French Royal infantry, bust-length
ÉLISABETH LOUISE VIGÉE LE BRUN (PARIS 1755-1842)
Portrait d'Alexis-Féréol Perrin de Sanson (1733-1820)
ENTOURAGE DE LOUISE-ÉLISABETH VIGÉE LEBRUN (PARIS 1755-1842)
Portrait de Marie-Antoinette
LOUISE-ELISABETH VIGÉE LE BRUN (PARIS 1755-1842)
Study of a nude, half-length, her right arm raised
ATELIER DE ÉLISABETH LOUISE VIGÉE LE BRUN (PARIS 1755-1842)
Portrait de Marie-Thérèse-Louise de Savoie Carignan (1749-1792), princesse de Lamballe
After Elisabeth-Louise Vigée-Le Brun
Self-Portrait, half-length, in a blue dress and red sash, with a white headdress
French School, c. 1800
Portrait of a gentleman, half-length, in a yellow coat
ÉCOLE FRANÇAISE DU XVIIIE SIÈCLE
Portrait de Madeleine-Sophie Arnould (1744-1802) dans le rôle de Télaïre (Castor et Pollux)
ÉCOLE FRANÇAISE DU DÉBUT DU XIXe SIÈCLE, SUIVEUR D'ELISABETH VIGÉE-LEBRUN
Portrait de l'Impératrice Marie Féodorovna, née Duchesse Sophie-Dorothée de Wurtemberg (1759-1828)
SUIVEUR D'ELISABETH VIGEE-LEBRUN
Portrait présumé de la Comtesse du Barry
DANS LE GOÛT DE LOUISE ELISABETH VIGÉE LE BRUN
Portrait d’Élisabeth de France (1764-1794)
ÉCOLE FRANÇAISE DU XIXE SIÈCLE, DANS LE GOÛT D’ÉLISABETH-LOUISE VIGÉE LEBRUN
PORTRAIT DE LA REINE MARIE-ANTOINETTE
After Marie-Louise-Elisabeth Vigee-Lebrun (French, 1755-1842)
Portrait of Marie-Antoinette, half-length, in a blue dress holding a pink rose
J. Fumi, after Marie Louise Elisabeth Vigée-Le Brun
Self-portrait of the artist
Follower of Elisabeth-Marie Vigee Lebrun
Portrait of a lady, bust-length, in a white dress
Marie-Louise-Elisabeth Vigée-Lebrun (Paris 1755-1842)
Portrait of Princess Theresia Maria von Hartig (1785-1830)
Attributed to Marie-Louise-Elisabeth Vigee-Lebrun (1755-1842)
Study of a woman weeping
ÉLISABETH-LOUISE VIGÉE LE BRUN (PARIS 1755-1842)
Portrait of a young boy of the Caillot family ; and Portrait of Augustine Catherine Caillot
ÉLISABETH VIGÉE LE BRUN (PARIS 1755-1842)
Portrait of a women traditionally called Mademoiselle George three-quarter length
ÉCOLE FRANÇAISE DU XIXe SIÈCLE, ENTOURAGE D'ÉLISABETH VIGÉE LE BRUN
Portrait de la peintre Vigée Le Brun (1755-1842 ), de trois-quarts