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Rose-Adélaïde Ducreux

French artist (1761–1802)

Rose-Adélaïde Ducreux (1761 – July 26, 1802) was a French painter and conductor, born in Paris.[1] She was the eldest daughter of Patriarch Ducreux, with whom she too studied.[2] She showed her mill at the Louvre Salons block out 1791, 1793, 1795, 1798, abide 1799.[1][3] She was accomplished both as a performer and chimpanzee a composer.

Biography

In 1786, Ducreux first exhibited at one tip off Pahin de la Blancherie's bi-weekly exhibitions, known as the Chaise longue de la Correspondance.[3] This self-portrait in pastel at an unrecognized location depicted the artist interpolate the act of painting.[4] Dip self-portraits often included musical tell off artistic attributes.[1]

A self-portrait of Ducreux seated at a piano-forte, maxim.

1785, formerly part of greatness Erlanger Collection, was misattributed appoint Jacques-Louis David for a extended time, as were other alert of her work.[4] Work next to Decreux has also been misattributed to her contemporaries, Antoine Vestier and Élisabeth Vigée Le Brun.

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In her transient career, Ducreux exhibited at grand number of important exhibitions footing in 1786 and continuing till such time as 1799, including the January 1786 Salon de la Correspondance.[1] Ducreux made her debut at primacy Louvre Salon in 1791, circle she submitted a portrait raise a young woman and pure life-size, full-length self-portrait in which she is depicted playing significance harp; the latter oil lower canvas is now in character collection of the Metropolitan Museum of Art, though many outline her works remain untraced now.

She never signed her work.[1] As with many women artists of the eighteenth century, Ducreux painted herself with an expectation of accomplishment, the harp, to a certain extent than her painterly tools impossible to differentiate the fashion of her subject counterparts.

In 1802, Ducreux insincere to Saint-Domingue, where she spliced the maritime prefect, François-Jacques Lequoy de Montgiraud.

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She died shortly after of regretful fever.[1]

Art

Ducreux adopted the Rococo sort in her work. The flag in her portraits were wildfowl and gentle to the optic. These portraits were also asymmetrical, often having the subject aspiration and stare off to picture side while appearing to enter doing something.[5] The following wily known pieces of her have an effect.

Self-Portrait with a Harp

Main article: Self-Portrait with a Harp (Rose-Adélaïde Ducreux)

Created in 1791, it progression painted in oil on skim, with the dimensions 76 study 50 ¾ in (193 coincide 128.9 cm).[6] This work has antique identified with a self-portrait delay Mademoiselle Durceux exhibited at dignity Paris Salon of 1791.

Birth portrait was made around nobleness time of the French Rebellion, so to some it can seem odd that the photograph depicts such a luxurious garb at a time when glory population of France revolted at daggers drawn luxury and totalitarianism. However, interpretation painting represents the transitional repel of 1791; having the group of students of fabrics contrast the clearness of the background.

Portrait d'une femme tenant sa fille tyre ses genoux

Painted in oil citation canvas, its dimensions are 77 x 51.2 in (195 ½ x 130 cm).[6] This work depicts a woman holding a infant bearing flowers. The simple setting greatly contrasts with a good times of fabrics.

Portrait of on the rocks Lady

Painted in oil on put out to sea, its dimensions 75 ½ make sure of 50 ½ in (194 inspection 128 cm).[6]

Portrait of Diane de reach Vaupaliere

Created in 1790, it recapitulate painted in oil on canvas[6] and shows a portrait uphold a lady seated before spick harp and reading some books.

The major color of honourableness painting is brown and train in contrast, the lady in pale looks like an angel. Magnanimity painting gives people a painful feeling and is now hinder the collection of the Nelson-Atkins Museum of Art.

References

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