Marie-Antoinette de Lorraine-Habsbourg, Queen of France and Her Children by Louise Elisabeth Vigee-Lebrun
As the French Revolution approached, Louise Elisabeth Vigée Le Brun painted the queen's portrait in an attempt to win back public opinion. This documentary examines the historical and social context in which Marie-Antoinette de Lorraine-Habsbourg, Queen of France and Her Children was painted. I...
Other Authors: | ARTE France., Infobase, |
---|---|
Format: | Video |
Language: | English |
Published: |
[Place of publication not identified] :
ARTE France,
[2015]
Distributed by Infobase, |
Physical Description: |
1 online resource (1 video file (25 min., 48 sec.)) : color and sound. |
Series: |
Smart Secrets of Great Paintings.
|
Subjects: |
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505 | 0 | 0 | |t Marie-Antoinette de Lorraine-Habsbourg, Queen of France and Her Children Introduction |g (3:48) -- |t National Debt |g (2:54) -- |t "Marie-Antoinette de Lorraine-Habsbourg, Queen of France and Her Children" Symbolism |g (2:30) -- |t Louise Elisabeth Vigee-Lebrun |g (3:17) -- |t "Marie-Antoinette de Lorraine-Habsbourg, Queen of France and Her Children" Inspiration |g (4:04) -- |t Projecting Maternal Bliss |g (3:43) -- |t Smear Campaigns |g (3:17) -- |t Failed Propaganda Operation |g (1:12) -- |t Credits: Marie-Antoinette de Lorraine-Habsbourg, Queen of France and Her Children by Louise Elisabeth Vigee-Lebrun: Smart Secrets of Great Paintings |g (0:40) |
506 | 1 | |a Access requires authentication through Films on Demand. | |
520 | |a As the French Revolution approached, Louise Elisabeth Vigée Le Brun painted the queen's portrait in an attempt to win back public opinion. This documentary examines the historical and social context in which Marie-Antoinette de Lorraine-Habsbourg, Queen of France and Her Children was painted. It analyzes the work's composition and symbolism in terms of motherhood and political legitimacy, and attempts to counter the queen's reputation for debauchery. It also includes a discussion of Le Brun's background, Italian and Flemish influences, and her unique position as court portraitist in a male dominated field. Finally, we learn how the work was received by the Paris Salon and by the French people. | ||
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