Category: eighteenth century

Anne Vallayer-Coster (French, 1744 – 1818): Still life with Peaches and Grapes (c. 1779) (via National Gallery of Canada)

Nanine Vallain (French, 1767 – 1815): Portrait of a young woman holding a lamb (1788) (via Paris Musées)

Catherine Lusurier (French, 1753 – 1781): Portrait of Jean Le Rond d’Alembert (1717-1783) (1777) (via Paris Musées)

Angelica Kauffmann (Swiss, 1741 – 1807):

The Ely Family
(1771) (via National Gallery of Ireland)

From the museum website:

Angelica Kauffman achieved remarkable success for a woman painter of her period. Under the patronage of Joshua Reynolds she became one of the leading artists in England, renowned for her allegorical subjects as well as her society portraits. She visited Ireland briefly during 1771, where she received numerous commissions, and one of the families she stayed with was that of the Earl of Ely at Rathfarnham Castle, for whom she painted this large family portrait.

The 1st Earl of Ely and his wife stand in the centre of this impressive group portrait, begun at Rathfarnham Palace and completed in the artist’s London studio. The two young women on the left are nieces to the couple. Frances Monroe is seated at the harpsichord playing an aria from ‘La Buona Figliuola’ by Niccolo Piccini, a popular hit in Dublin at the time. Dolly Monroe stands before her in pseudo-classical costume designed to give the sense of an allegorical figure. At the right, a young Indian page in Oriental dress carries a cushion with two coronets, symbolising the title the Earl had just received.

Rosalba Carriera (Italian, 1675 – 1757): Spring (c. 1740) (via National Gallery of Ireland)

From the museum website:

Reflecting the refined taste of her times, Carriera’s work was in vogue among wealthy Grand Tourists visiting Venice from Germany, France and England. Her work also became increasingly popular with the nobility across Europe. In her pastels she skilfully portrayed the social status of her sitters, accurately describing their elegant jewels and costume. She also created imaginative allegorical personifications of Diana, Flora, the elements and the seasons. Here, Winter, dressed in rich velvet and furs, warms her hands by a small fire. Carriera often chose blue paper as a support, not only because it was the thickest paper available in the eighteenth century, but also because of the chromatic vibrancy it offered as a background for pastel pigments.

Louise Elisabeth Vigée Le Brun (French, 1755 – 1842): Marie-Antoinette with the Rose (1783) (via Wikimedia Commons)

Some floral still lifes by
Rachel Ruysch (Dutch, 1664 – 1750). According to Wikipedia:

She specialized in flowers, inventing her own style and achieving international fame in her lifetime. Due to a long and successful career that spanned over six decades, she became the best documented woman painter of the Dutch Golden Age.

Louise Elisabeth Vigée Le Brun (French, 1755 – 1842): Portrait of Marie Gabrielle de Gramont, Duchesse de Caderousse (1784) (via Wikimedia Commons)

Follower of Rachel Ruysch (Dutch, 1664 – 1750): Tulips, roses, violets and other flowers in a sculpted vase on a stone ledge (via Christie’s)

Circle of Rachel Ruysch (Dutch, 1664 – 1750): Roses, marigolds and snap dragons on a ledge with a red admiral butterfly (via Christie’s)