The early 1900s caption reads: "Marie Antoinette and her Children - at Versailles. The last portrait that Vigee Le Brun painted of the doomed queen was the canvas that hangs at Versailles known as “Marie Antoinette and Her Childrem” in which the queen is seen seated beside a cradle with the baby Duke of Normandy on her knee, the little Madame royale at her side, and the small Dauphin pointing into the cradle. When the doors of the Salon of 1788 were thrown open, the painting was not quite finished and for some days the frame reserved for it remained empty. It was on the eve of what was to beco


The early 1900s caption reads: "Marie Antoinette and her Children - at Versailles. The last portrait that Vigee Le Brun painted of the doomed queen was the canvas that hangs at Versailles known as “Marie Antoinette and Her Childrem” in which the queen is seen seated beside a cradle with the baby Duke of Normandy on her knee, the little Madame royale at her side, and the small Dauphin pointing into the cradle. When the doors of the Salon of 1788 were thrown open, the painting was not quite finished and for some days the frame reserved for it remained empty. It was on the eve of what was to become the Revolution, and the country was speaking now in no hushed whispers of the public deficit of the nation’s treasury, and gazing bewildered at the bankruptcy that threatened the land. The empty fame drew forth the bitter jest: 'Voila le deficit!'" Elisabeth Louise Vigee Le Brun (1755-1842), also known as Madame Le Brun, was a French portrait painter, especially of women, in the late 18th and early 19th centuries. Her artistic style is generally considered part of the aftermath of Rococo with elements of an adopted Neoclassical style. She gained renown in particular for her self-portraits and depictions of courtly women, especially Queen Marie Antoinette.


Size: 3844px × 4890px
Photo credit: © Ivy Close Images / Alamy / Afripics
License: Royalty Free
Model Released: No

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