This painting, Young Woman Drawing by Marie-Denise Villers meditates on love versus art. Art wins the contest here. This piece works as a rumination on the self and identity too. That&#;s partly because of the subject matter. But the situation behind the work tells that story as well. When the Metropolitan Museum of Art got this work, Jacques-Louis David got credit for it. At that time art critics declared it a masterpiece. He was, after all, an acclaimed artist.
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But soon after facts revealed Marie-Denise Villers as Young Woman Drawing&#;s true creator. That revelation wiped the Vaseline off critics&#; lenses. With newfound clarity of vision they saw problems with the piece. Proportional issues and other imperfections came to light. She plays with imperfections to make a point in the piece, though.
Take the cracked glass in the pane behind her. It arcs over two lovers on the roof outside. They&#;re boxed in by the limitations of their relationship. The window, roof and building around them represent this cage of love&#;s definitions. It was So, relationships meant strict borders&#; especially for women in those times.
Marie-Denise Villers
Marie-Denise Lemoine
Detail of Young Woman Drawing, (self-portrait?)Marie-Denise Villers
Marie-Denise Lemoine
Marie-Denise Villers (n&#;e Lemoine; – 19 August ) was a French painter who specialized in portraits.
Marie-Denise Lemoine was born in Paris to Charles Lemoine and Marie-Anne Rouselle. Two of her three sisters, Marie-Victoire Lemoine (–) and Marie-&#;lisabeth Gabiou (–), as well as distant cousin Jeanne-Elisabeth Chaudet (–), were all trained as portraitists. Within her family, Marie-Denise was known as "Nisa." The family lived on the Rue Traversi&#;re-Saint-Honor&#; (today Rue Moli&#;re) near the Palais Royal in the 1st arrondissement of Paris. Little is known about Marie-Denise's childhood, however it is likely that through her much older sisters and cousin she would have been introduced to the salons of Paris. It was In the Paris Salon of that she met the artist Anne-Louis Girodet-Trioson, and also began to take painting lessons with Fran&#;ois G&#;rard and Jacques-Louis David.
In , she married an architecture student, Michel-Jean-Maximilien Villers. Her husband supported her art, during a time when many women were force
My Daily Art Display painting for today is literally a whodunit mystery which may or may not have been solved conclusively and who knows what twists may still come in the future. It is a work of art which has three different artists and two different titles but having said that, to my mind it doesn,t matter as it is an exquisitely delightful painting.
In Charles Sterling, Louvre curator and foreign advisor to the Metropolitan Museum, after some lengthy consideration, stated that the unsigned Portrait of Mademoiselle Charlotte du Val d’Ognes, which the establishment had acquired in , was not the work of Jaques-Louis David the highly influential French painter but by one of his students, namely Constance Marie Charpentier. So there we have it – just a simple mis-identification of the artist. Sadly, after this revelation, its value plummeted and so-called artistic experts looked at it again and “tut-tutted” about its poor quality. Labels on the wall of the gallery describing the work of art were changed but the painting remained in place.
However since that proclamation in by Charles Sterling the debate has raged as to whether Charpentier did actually paint this picture
Artwork of the Week: Young Woman Drawing by Marie-Denise Villers
Welcome back to Artwork of the Week! I&#;m really enjoying writing the posts for this series, so I hope you are finding them useful. 🙂
Today, I chose another painting that I just find beautiful.
There is a lot to find intriguing about this artwork. The first thing that grabs me is the woman&#;s haunting stare. I love that the lighting comes from behind her because she is an artist. She would sit in a way that her art was well lit. Her hair and dress glow with the backlighting.
The people on the balcony in the background emphasize her solitude. We are left to wonder what is on her paper, but the way she stares intently out to the viewer makes me think she is drawing me, and now you, and also whoever else is reading this post, and whoever is looking at this right now at the Met Museum. She pulls us in and makes us a part of the painting.
Another intriguing aspect of this painting is its history. It was originally attributed to the famed Neoclassical painter, Jacques-Louis David, but after studying the history of its exhibition, they realized he could not have painted this. For a long time, this was a whod
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