, 1785. The two pupils are
Marie Capet and Carreaux de Rosemond. Particularly noteworthy French women painters during the late 18th century include
Adélaïde Labille-Guiard,
Anne Vallayer-Coster, and
Louise Élisabeth Vigée Le Brun. Vallayer-Coster was prominent for her figural paintings of
King Louis XV's daughters and his daughter-in-law
Marie Antoinette. Marie Antoinette and the
Mesdames de France, also helped Labille-Guiard and Vigée Le Brun obtain admission to the Académie which caused a huge stir among the press, who decided to pit them as rivals against each other. The
French Revolution of 1789 created a hostile environment for artists at the time, particularly those supported by the royal family. Vigée Le Brun and Vallayer-Coster, along with many other female artists, fled to other parts of Europe and Russia. Labille-Guiard, however, chose to stay and built a respectable reputation painting the faces of the Revolution. After the Revolution, lesser known women artists were able to use the now wide-open biennial
Salon (France) to display their art to a more receptive audience. After the French Revolution, the number of French women artists sharply declined. It was the monarchy who gave women artists, especially painters, the opportunities to succeed. The Royal Academy was closed down and replaced with an institution that barred the admittance of women. Some female artists close to the monarchy were even executed. It wasn't until the end of the 19th century that a significant number of women were combating stereotypical
gender roles. Traditional gender roles hindered prospective French women's artistic careers. While drawing and painting at the amateur level was encouraged as a part of a good bourgeois education, women were not socially permitted to engage in professional careers that were deemed unimportant to society and/or disrupted in the perceived women's role of being a fully functional wife and mother. Many of the artists of this time felt the need to choose between a career and marriage. Also, any female students who did receive training from a skilled artist, and the limited expectations generally had them left with the simplest of artistic tasks. In 1860,
Marie Bracquemond, a rising impressionist artist, quipped of her instructor, famous painter
Jean-Auguste-Dominique Ingres, "The severity of Monsieur Ingres frightened me... because he doubted the courage and perseverance of a woman in the field of painting... He would assign to them only the painting of flowers, of fruits, of still lifes, portraits and genre scenes." In the 1870s, life drawing classes became more open to French female students aspiring to be artists in Paris. Perhaps the most successful French woman artist in this era was
Rosa Bonheur, who was well known for her animal paintings as well her sculptures. At a time that was dominated by male artistic ability, Bonheur is received very positively and rated very well among all of her peers. In an attempt to reject the gender roles, she cut and maintained a short hairstyle and also requested permission from the police to wear man's pants in order to remain relatively unnoticed in farms and slaughterhouses while she painted animals and studied animal anatomy. Due to concerns like this, women were more likely to embrace movements like the
Impressionism that put artistic emphasis on everyday subjects, and not historical themes, that could be painted at home. Despite these hindrances, France was still one of the leading countries for the private tutelage of artistic women at the end of the 18th century. When the
École des Beaux-Arts—the primary training facility—eventually succumbed to heavy pressure and began admitting women in 1897, France was no longer the hold-out in providing women with a state-sponsored education. Women painters built their own support network in Paris. By the 1880, the Union des Femmes Peintres et Sculpteurs played a central role although only a select few women were admitted into quality artistic schools, including the prestigious
Académie royale de peinture et de sculpture (Royal Academy).
Camille Claudel (1864–1943) was at first censored as she portrayed sexuality in her work. Her response was a symbolic intellectual style that was opposed to the "expressive" approach that was normally attributed to women artists. Her work became well regarded. With regard to
literature, France is well known for the writer
George Sand (the pseudonym of Amantine Lucile Aurore Dupin). == See also ==