Marie Antoinette

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	Elisabeth Vig�e Le Brun, 1785, private collection This portrait of Marie Antoinette was painted for the Minist�re des Affaires Entrang�res
	Alexandre Kucharski A color version of a portrait of Marie Antoinette made by Elisabeth Vig�e Le Brun for the Minist�re des Affaires Entrang�res on 1785.
	Elisabeth Vig�e Le Brun Probably copy of the portrait of Marie Antoinette made on 1785 for the Minist�re des Affaires Entrang�res.
	Adolf Ulrich Wertm�ller, 1785, National Museum of Sweden, Stockolm Marie Antoinette walking in the Versailles Park with her children, Louis Charles and Madame Royale. The Swedish painter Wertm�ller, made for himself many mannequins as patterns of the Queen and dolls that imitate the Queen's hair style, which was made by the "divine" maker L�onard Cadet. For this reason Marie Antoinette, on the Wertm�ller's portraits, is always stiff. No one really like it, when the portrait was shown, because the Queen didn't show enough dignity on it: for this reason Wertm�ller made some changes on the painting. Before the changes the Queen held her head more to one side and the temple of Love was much more shown. The portrait was requested by the King of Sweden Gustav III and sent to Sweden in 1786, when Wertm�ller had finished to touching up the panting. A copy of that painting is kept in the Kunsthistorisches Museum of Vienna (?)
	1786, Elisabeth Vig�e Le Brun, collection of the prince Ludwig von Hessen und bei Rhein, Wolfsgarten, Germany Marie Antoinette was been represented with a straw hat and a white muslin dress with pleated and tight pleated sleeves. This painting was exhibited in the 1786 Salon, but the Queen's unpopularity was already strong, then the backbiters said that the Queen had portrayed herself in a blouse.
	Elisabeth Vig�e Le Brun, 1786, Louvre, Paris Portrait of Marie Antoinette
	Elisabeth Vig�e Le Brun, 1786, Art Istitute, Detroit Probably a copy of the portrait of Marie Antoinette wearing a blue dress and holdinging a book on her hand. Often the Queen asked Elisabeth Vig�e Le Brun to make some copies of her most famous portraits as presents to her friends, ambassadors or kings. The paintress changed only the dresses or some other details (like the hat or the jewelleries), or simply painting the half-bust figure.
	Elisabeth Vig�e Le Brun This portrait (probably copy of the 1786's portrait too) was kept in the Madame Royale's bedroom. It was bayonetted by a France Revolutionary in the Tuileries.
	Pastel, private collection, Parkstone, Dorset Portrait of Marie Antoinette
	Dumont, gauche Marie Antoinette in the park of the Trianon palace.
	Elisabeth Vig�e Le Brun, 1788, Louvre, Paris Marie Antoinette with her children. This is the last of the 30 portraits that Marie Antoinette ordered from Elisabeth Vig�e Le Brun: it rapresented the Queen with her younger son Louis Charles (the future Louis XVII), Madame Royale and Louis Joseph near an empty cradle. This empty cradle recalls Marie Sophie who died at the age of 1 of tuberculosis. One year after the realization of this painting, Louis Joseph died too: the Queen decided to change the original placing of the painting because every time she passed in front of it, she cried with pain. The Elisabeth Vig�e Le Brun's painting was exhibited in the Salon of the 1788 with many criticisms: the paintress had showed the Queen as a normal mother, but this subject adapted badly Marie Antoinette in her red velvet dress, plus she posed in front of the Mirror Gallery of Versailles, and she seems to remember that she will be always the Queen of France.
	Franz von Matsch, Historisches Museum der Stadt Wien, 1908 The German princes and the Emperor William the Second, made their best wishes to the Kaiser Franz Joseph for the 60 years of his reign. They was in the large Marie Therese's drawing room: this room was called "Marie Antoinette's room" for the big arras that a time decorated it; the arras was a present by the Emperor Napoleon the Third and showed the Queen of France and her three children as they were portrayed by Elisabeth Vig�e Le Brun on 1788.
	Hofmobiliendepot, Vienna, Austria A beautiful marble bust of Marie Antoinette.
	Elisabeth Vig�e Le Brun, 1788, Versailles Marie Antoinette
	Adolf Ulrich Wertmuller, 1788, Kunsthistorisches Museum, Vienna Probably a copy of the Queen's portrait made by Elisabeth Vig�e Le Brun.
	Adolf Ulrich Wertmuller, collection of M. Partiot Marie Antoinette in hunting clothes given by the Queen to Mme Campan: probably a copy of the Queen's portrait made by Wertmuller on 1788.
	French school of the 18th century, oil on canvas Marie Antoinette, queen of France.
	Alexandre Kucharski, 1792, Versailles This pastel was made at the Tuileries, but it was left unfinished. A pike's blow by a revolutionary is still visible low on the drawing. Many people said that Marie Antoinette at that age had lost her beauty and the Polish painter showed us a woman who seemd to have more than her 36 years, but also awfully charming and attractive. Her lips were proud but her look seems to ask us: "Why?"
	A nineteenth-century portrait of Marie Antoinette by Theophile Gide.
	Portrait for the Marquise De Brehan, Mus�e de la Ville de Paris Marie Antoinette in her black velvet mourning dress in the Temple Tower.
	1793, Alexandre Kucharski, pastel Marie Antoinette at the Temple Tower.
	Sophie Prieur, 1793, Museum of Carnavalet Marie Antoinette in the Conciergerie.
	Embroidery by Marie Antoinette This is the last embroidery made by Marie Antoinette during her imprisonment in the Conciergerie. It was presented by Sophie de Condorcet to Giulia Beccaria and today is kept in the house of Alessandro Manzoni in Milan.
	Gervais Simon Marie Antoinette in the Conciergerie
	XIXth century, Conciergerie Postumous portrait of the Queen in her Conciergerie's prison: Marie Antoinette received the extreme unction before her execution.
	Baader Louis-Marie, Mus�e des Beaux-Arts et d'Arch�ologie, Renees, Francia The last morning of Marie Antoinette.
	Louis David, 1793 "At the corner of the Rue St-Honore, where the Cafe de la Regence now stands, a man stood waiting, an artist's block in one hand and a pencil in the other. It was Louis David, one of the greatest cowards but also one of the greatest painters of his day. (...) But though he was a despicable creature, though he had the soul of a servant, he had an artist's eye and an artist's hand. In a trice he had sketched the Queen as she was passing, a cruelly magnificent drawing, made from the life with sinister skill; the picture of a woman prematurely old, no longer beautiful, to whom nothing but pride remains. Her mouth is arrogantly closed; her expression is one of profound indifference; with her hands tied behind her back she sits challengingly upright on the wooden seat of the tumbril as if she were seated upon a throne. Every line of her stony countenance speaks disdain, and her pose is one of invincible resolution. Suffering transformed into defiance, pain metamorphosized into energy, give her tortured face a new and dreadful majesty. Not even hatred, which made this picture, can deny the awful dignity with which Marie Antoinette endured the shame of her her drive to the place of execution." (Stefan Zweig)
	Elisabeth Vig�e Le Brun, 1800 Postumous portrait of Marie Antoinette.

Claudia

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