[Vigée Le Brun] contributed more than fifty pictures [to the Salon] and had reached the high point of her career when, after the march on Versailles, she fled the French Revolution.

Former High School Intern Maryam details the life of Vigée Le Brun, a brilliant 18th-century portraitist, and shares how she can relate to the challenges the artist faced in her time.

Elisabeth Louise Vigée Le Brun (1755–1842) was one of the finest eighteenth-century French painters and among the most important women artists of all time. Celebrated for her expressive portraits of French royalty and aristocracy, and especially of her patron Marie Antoinette, Vigée Le Brun exemplified success and resourcefulness in an age when women were rarely allowed either. Because of her close association with the queen Vigée Le Brun was forced to flee France during the French Revolution. For twelve years she traveled throughout Europe, painting noble sitters in the courts of Naples, Russia, Austria, and Prussia. She returned to France in 1802, under the reign of Emperor Napoleon I, where her creativity continued unabated. This handsome volume details Vigée Le Brun's story, portraying a talented artist who nimbly negotiated a shifting political and geographic landscape. Essays by international scholars address the ease with which this self-taught artist worked with monarchs, the nobility, court officials and luminaries of arts and letters, many of whom attended her famous salons. The position of women artists in Europe and at the Salons of the period is also explored, as are the challenges faced by Vigée Le Brun during her exile. The ninety paintings and pastels included in this volume attest to Vigée Le Brun's superb sense of color and expression. They include exquisite depictions of counts and countesses, princes and princesses alongside mothers and children, including the artist herself and her beloved daughter, Julie. A chronology of the life of Vigée Le Brun and a map of her travels accompany the text, elucidating the peregrinations of this remarkable, independent painter.

Sunday at The Met—Vigée Le Brun's Portraits of Marie Antoinette, presented in conjunction with the exhibition _[Vigée Le Brun: Woman Artist in Revolutionary France](/exhibitions/listings/2016/vigee-le-brun)_.

The painter Élisabeth Vigée Le Brun once wrote of the 18th century, “Women reigned then; the Revolution dethroned them.”

Keith Christiansen discusses the presence of Charles Le Brun in his portrait of the banker Everhard Jabach and his family.

Louise Bourgeois (1911–2010) is celebrated today for her sculptures. Less known are the paintings she produced between her arrival in New York in 1938 and her turn to three-dimensional media in 1949. Crucial to her artistic practice, these early works—the focus of this groundbreaking publication—show how Bourgeois evolved her deeply personal artistic lexicon, and how the themes and motifs she explored in her paintings coalesced into symbols of her sculptural practice. Informed by new archival research and the artist's extensive diaries, Louise Bourgeois: Paintings explores Bourgeois's relationship to the New York art world of the 1940s and her development of a unique pictorial language, adding a key element to our understanding of this crucial artist’s career.