Women Painters of the World: From the Time of Caterina Vigri, 1413-1463, to Rosa Bonheur and the Present Day
History
Women Painters of the World: From the Time of Caterina Vigri, 1413-1463, to Rosa Bonheur and the Present Day
Painting -- History; Women painters -- Biography
Further, they long affected what may be called medium processes:
pastel, water-colour, miniature, all kinds of work offering
opportunity of finish and _éclat_. They showed a partiality for oil
painting after the manner of the smaller Dutch masters, who had no
more faithful imitators in all France. Mme. Vien, Mme. de Valsaureaux,
_née_ Parrocel, and particularly Mme. Vallayer Coster--"_femme qui fut
un habile homme_," according to the verses written in her
honour--excelled in this style.
Some of the "_Académistes_"--to use the old French expression--won
real celebrity, but few there were who achieved lasting glory. In the
reign of Louis XIV, the woman artist whose reputation shone with the
clearest lustre was Elisabeth Sophie Chéron, who excelled in all the
arts--for she was a clever painter, a consummate musician, a poet of
merit and _femme d'esprit_ into the bargain. Following the general
rule she belonged to one of the numerous artist families. Daughter of
a painter (Louis Chéron), she was also sister of a painter. This
latter, who was her junior, had talent, but not to the extent of the
elder. Élisabeth Sophie Chéron was of Huguenot family, as was
frequently the case among the Academicians, although, from what absurd
prejudice I know not, the _réformés_ were regarded as less artistic
than other folk. But in 1668,--she was twenty then--terrified no doubt
by the ever-increasing persecution of the Protestants--a persecution
which was soon to result in the Edict of Nantes--she, like her sister,
abjured her faith, whereas her brother, remaining true to the family
faith, was forced to take refuge in London, where he died.[1]
[1] Several Académiciens of the reformed religion were excluded, or
obliged to submit to the Catholic religion.
Sophie translated into French the Psalms of David, which her brother
illustrated admirably, and she has left at least one important
engraved work, but above all, she has left a number of portraits of
well-known people of her time, portraits that the sitters made her
copy four and even five times.
Public-domain text, read in full here on John Shaqi.
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