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Thinking Women and Art in the Long Eighteenth Century

Thinking Women and Art in the Long Eighteenth Century

Strategic Reinterpretations

This book represents state-of-the-art feminist scholarship in the field of eighteenth-century French and British art and visual culture. Topics range from women and their activities in art and science, to gendered representations of childhood and animals to fashion, femininity and temporality. Some chapters center on individual genres like hunting portraits, or on specific paintings, such as David Martin's Portrait of Dido Elizabeth Belle and Lady Elizabeth Murray (ca. 1780) or Marie Guillemine Benoist's Portrait of a Young Black Woman (Madeleine) (1800). Others make contributions on the work of familiar actors like Jean-Siméon Chardin or Élisabeth Louise Vigée Le Brun. The volume also brings to the fore lesser-known figures including Marie-Thérèse Reboul, Madeleine Basseporte, Marguerite Le Comte, and Gabrielle Capet. Written by eleven distinguished (art) historians, the assembled essays engage with and honor the work of the late Mary D. Sheriff, whose unpublished chapter on women artists’ self-portraiture opens the book.
  • Cover
  • Table of Contents
    • Acknowledgements
    • Preface
    • Introduction
      • Mary D. Sheriff: Charting New Possibilities for Feminist Art History
        • Mechthild Fend, Jennifer Germann, and Melissa Hyde
    • Overture
      • 1. Women and Modes of Self-Portraiture: Fashion, Motherhood, Sensibilité
        • Mary D. Sheriff
    • Part I: Art as Social Practice
      • 2. The Woman Artist and the Uncovering of the Social World
        • Lynn Hunt
      • 3. “La touche d’une femme”: Women Artists in the Age of Revolutions
        • Paris Spies-Gans
    • Part II: Gender and Fashion
      • 4. Chardin’s Girls: The Ethics of Painting
        • Ewa Lajer-Burcharth
      • 5. Thinking Animals: Dogs and Men in Eighteenth-Century French Hunting Art
        • Amy Freund
      • 6. Temporality and Figures de mode: Fashion, Costume, and Gender in Eighteenth-Century Drawings and Prints
        • Susan L. Siegfried
    • Part III: Women in Natural History
      • 7. Marie-Thérèse Reboul (Madame Vien): More than a Footnote in Art History
        • Melissa Hyde
      • 8. Mlle Basseporte’s Jardin, Mlle Biheron’s Cabinet: Artist-Scientists and Their Spheres of Sociability
        • Nina Rattner Gelbart
    • Part IV: Encounters in Portraiture
      • 9. Marguerite Le Comte’s Smile: Portrait of an Amatrice
        • Mechthild Fend
      • 10. Imperial Family Portraits: Gender, Race, and Social Rank in the Portrait of Dido Elizabeth Belle and Lady Elizabeth Murray
        • Jennifer Germann
      • 11. Madeleine of the Americas: Resituating Benoist’s Portrait of a Young Black Woman in Colonial Art
        • Anne Lafont
    • Index
  • List of Illustrations
    • Color Plates
      • Plate 1 Marie-Denise (Nisa) Villers, Young Woman Drawing (Marie Joséphine Charlotte du Val d’Ognes) (1786–1868), 1801, oil on canvas, 161.3 x 128.6 cm, The Metropolitan Museum of Art, New York, Mr. and Mrs. Isaac D. Fletcher Collection, Bequest of Isaac D
      • Plate 2 Constance Mayer, Self-Portrait with the Artist with her Father, 1801, oil on canvas, 89 x 70 1/2 in. (226 x 179 cm), Wadsworth Atheneum Museum of Art, Hartford, CT, The Ella Gallup Summer and Mary Catlin Summer Collections Fund, 1989.1 Allen Phill
      • Plate 3 Marie-Victoire Lemoine, A Young Woman Leaning on the Edge of a Window (Une jeune femme appuyée sur le bord d’une croisée), ca. 1798–99, 195.6 × 137.5 cm, 2022.1527, Courtesy of the National Gallery of Victoria, Melbourne.
      • Plate 4 Adèle Romany, Portrait of a Woman Artist, 1799, Musée des Beaux-Arts, Rouen, France / Bridgeman Images.
      • Plate 5 Henriette Lorimier, Self-Portrait, 1807, Musée Magnon, Dijon © RMN-Grand Palais / Art Resource, NY.
      • Plate 6 Henriette Lorimier, Self-Portrait, 1801, private collection, Photo © Christie’s Images/Bridgeman Images.
      • Plate 7 Marie-Gabrielle Capet, Studio Scene, 1808, oil on canvas, 69 × 83.5 cm, bpk Bildagentur / Munich Neue ­Pinakothek / Art Resource, NY.
      • Plate 8 The Paris Salon, 1791–1827 – Genres Exhibited by Women. Courtesy of the author.
      • Plate 9 The Paris Salon, 1791–1827 – Proportional Genres Exhibited by Women. Courtesy of the author.
      • Plate 10 Jean-Siméon Chardin, The Morning Toilette, 1740, oil on canvas, 49 x 39 cm. Nationalmuseum, Stockholm, Sweden© Swedish National Art Museum /Bridgeman Images.
      • Plate 11 Jean-Siméon Chardin, Girl with a Shuttlecock, ca. 1737, oil on canvas, 81 x 65cm. Private Collection/France. Erich Lessing / Art Resource, NY.
      • Plate 12 Alexandre-François Desportes, Portrait of a Hunter, 1705, 128.5 x 97 cm, Kunstmuseum Basel. Photo: Kunstmuseum.
      • Plate 13 Alexandre-François Desportes, Nonette pointing, nd, oil on paper adhered to canvas, 38 x 57 cm, Musée internationale de la chasse, Gien (inv. 2365, deposit from the manufacture de Sèvres).
      • Plate 14 Jean-Honoré Fragonard, Young Woman Standing, ca. 1775–80, red chalk on paper, 38 x 24.2 cm, Rijksmuseum, Amsterdam, CC0 1.0 Universal.
      • Plate 15 Jean-Baptiste Moreau, called Moreau le Jeune, study for Les Adieux, plate 22 in Second Suite d’estampes pour servir à l’histoire des modes et du costume en France dans le dix-huitième siècle, 1777, Black ink, brown wash, and graphite on paper, 26
      • Plate 16 Marie-Thérèse Reboul, Two Pigeons on a Tree Branch, Salon of 1763, 1762, INV 33267. Musée du Louvre / Art Resource, NY.
      • Plate 17 Joseph-Marie Vien, Portrait of Madame Vien, 1760, inv. 55.7.2, © Musée Fabre de Montpellier Méditerranée Métropole – photographie Frédéric Jaulmes.
      • Plate 18 Madeleine Françoise Basseporte, Ixie, Ixia. Family: Iridaceae. Plate Plantes, 12, Folio: 36, Muséum national d’Histoire naturelle, Paris, France © RMN-Grand Palais / Art Resource, NY.
      • Plate 19 Maurice Quentin de La Tour, Marguerite Le Comte tenant un papier de Musique, 1753, pastel on paper, 64.8 x 52.5 cm. Staatliche Kunsthalle Karlsruhe © CC0.
      • Plate 20 David Martin, Portrait of Dido Elizabeth Belle and Lady Elizabeth Murray, ca.1780, oil on canvas, Courtesy of the Earl of Mansfield, Scone Palace, Perth.
      • Plate 21 Johann Georg Ziesenis, Queen Charlotte (1744–1818) when Princess Sophie Charlotte of Mecklenburg-Strelitz, ca.1761, oil on canvas, Royal Collection Trust © His Majesty King Charles III, 2024, Bridgeman Images. Paris. It corresponds to Chapter 10.
      • Plate 22 Adolphe d’Hastrel de Rivedoux, La Signare de Gorée avec ses esclaves, ca. 1839, color print, G. Broudic - Musée dela Compagnie des Indes -Ville de Lorient . It corresponds to Chapter 11.
      • Plate 23 Plate 1: Femme du Sénégal, Esquisses sénégalaises de l’abbé David Boilat (Paris, 1853), Bibliothèque nationale de France, Paris. It corresponds to Chapter 11.
    • Black-and-white figures
      • Fig. 1.1 Robert Lefèvre, The Painter Carle Vernet, 1804, oil on canvas, Musée du Louvre, Paris / Art Resource, NY. Photo: Erich Lessing.
      • Fig. 1.2 Carle Vernet, The Merveilleuses, January 22, 1797, engraving, 28.2 × 32.7 cm, engraved by Louis Darcis, Inv. 21964LR © RMN-Grand Palais / Art Resource, NY. Photo: Michele Bellot.
      • Fig. 1.3 Élisabeth Louise Vigée Le Brun, Self-portrait in a Straw Hat, 1782–83, oil on canvas, 97.8 × 70.5 cm, National Gallery, London / Bridgeman Images.
      • Fig. 1.4 Marie-Denise (Nisa) Villers, Young Woman Tying Her Shoe, or Study of a Woman from Nature, also called Portrait of Madame Soustra, 1802, oil on canvas, 146 × 114 cm, Musée du Louvre, Paris, Photo © RMN-Grand Palais / Art Resource, NY. Photo: Jean-
      • Fig. 1.5 “Bonnet du Matin,” Costume Parisien, Plate no. 378, Journal des dames et des modes, 1802 (l’an 10), The Morgan Library & Museum, New York, PML 5687-5707. Purchased by Pierpont Morgan, by 1906.
      • Fig. 1.6 “Coeffure en Fichu. Spencer de Velours,” Costume Parisien, Plate no. 284, Journal des Dames et des modes, 1801 (l’an 9), The Morgan Library & Museum, New York, PML 5687-5707. Purchased by Pierpont Morgan, by 1906.
      • Fig. 1.7 “Manches Lacées Chaîne en Or et Email,” Costume Parisien, Plate no. 261, Journal des Dames et des modes, 1801 (l’an 9), Rijksmuseum, Amsterdam, S. Emmering Bequest, CC0 1.0 DEED, CC0 1.0 Universal.
      • Fig. 1.8 Pierre Thomas Leclerc, “Femme en robe à la polonoise, de tafetas rayé, garnie de gaze, remettant sa jarretieère et laissant voir sa belle jambe,” Galerie des Modes, 1778. Photo: Author.
      • Fig. 1.9 Marie-Nicole Dumont, The Author at Her Occupations (L’auteur à ses occupations), ca. 1791, oil on canvas, 54 × 44 cm, Musée de la Révolution française, Inv. MRF 2017-5 © Coll. Révolution française – Département de l’Isère.
      • Fig. 1.10 Christian Gottfried Schulze, Venus Tying Cupid’s Wings, after Élisabeth Louise Vigée-Lebrun, engraving, Harvard Art Museums / Fogg Museum, Gift of Belinda L. Randall from the Collection of John Witt Randall © President and Fellows of Harvard Col
      • Fig. 1.11 Élisabeth Louise Vigée Le Brun, Madame Vigée Le Brun and Her Daughter Jeanne Marie-Louise (Julie) (1780–1819), 1786, oil on wood, 105 × 84 cm, Inv. 3069 © RMN-Grand Palais / Art Resource, NY. Photo: Franck Raux.
      • Fig. 1.12 Élisabeth Louise Vigée Le Brun, Self-Portrait with Julie, 1789, oil on wood, 130 × 94 cm, Inv. 3068 © RMN-Grand Palais / Art Resource, NY.
      • Fig. 1.13 Marie-Guillemine Benoist, Self-Portrait, 1786, oil on canvas, 100 × 80.5 cm, Staatliche Kunsthalle Karlsruhe © CC0.
      • Fig. 1.14 Michel-Olivier Le Bas after Henriette Lorimier, A Mother Watching a Goat Nurse Her Child, from Charles-Paul Landon, Annales du musée et de l’école moderne des beaux-arts (1805), vol. 9, pl. 72, New York Public Library, CC0.
      • Fig. 1.15 Henriette Lorimier, Jeanne Navarre Leading Her Son, Arthur, to the Tomb of His Father Jean IV, Duke of Brittany, 1806, oil on canvas, 191 × 168.5 cm, châteaux de Malmaison et Bois-Préau, Rueil-Malmaison © RMN-Grand Palais / Art Resource, NY.
      • Fig. 1.16 Rose Ducreux, Self-Portrait with a Harp, 1791, oil on canvas, 193 × 128.9 cm, The Metropolitan Museum of Art, New York, Bequest of Susan Dwight Bliss, 1966, 67.55.1, CC0.
      • Fig. 1.17 Louis Léopold Boilly, Improvised Concert or The Price of Harmony, 1790, oil on canvas, Musée de l’Hotel Sandelin, Saint-Omer / Bridgeman Images.
      • Fig. 1.18 Marie-Geneviève Bouliar, Adélaïde de Binart, Citoyenne Lenoir, ca. 1796, oil on canvas, 82 × 62 cm, Musée Carnavalet, Paris, CC0.
      • Fig. 1.19 Marie-Geneviève Bouliar, Portrait of Alexandre Lenoir, ca. 1796, oil on canvas, 73 × 60 cm, Musée Carnavalet, Paris, CC0.
      • Fig. 1.20 Marie-Geneviève Bouliar, Self-Portrait, 1792, oil on canvas, 55.5 × 46 cm (21 7/8 × 18 1/8 in.), Norton Simon Art Foundation, Gift of Mr. Norton Simon.
      • Fig. 1.21 Léon Cogniet, Self-Portrait, ca. 1818, oil on canvas, Musée des Beaux-Arts, Orléans / Bridgeman Images.
      • Fig. 1.22 Hortense Haudebourt-Lescot, Self-Portrait, 1825, oil on canvas, Musée du Louvre, Paris © RMN-Grand Palais / Art Resource, NY.
      • Fig. 1.23 François Joseph Heim, Charles X Distributing Prizes to the Artists of the Salon of 1824, 1827, oil on canvas, Musée du Louvre, Paris © Erich Lessing / Art Resource, NY.
      • Fig. 1.24 David d’Angers, Antoinette Cécile Hortense Lescot, Mme. Haudebourt-Lescot, 1829, bronze, 14.9 cm (5 7/8 in.), The Metropolitan Museum of Art, New York, Gift of Samuel P. Avery, 1898, 98.7.16, CC0.
      • Fig. 2.1 Marie-Gabrielle Capet, Self-Portrait, 1790, The Horvitz Collection, Wilmington, Delaware.
      • Fig. 2.2 Marie-Gabrielle Capet, Self-Portrait, ca. 1783, National Museum of Western Art, Tokyo, HIP / Art Resource, NY.
      • Fig. 2.3 Adélaïde Labille-Guiard, Self-portrait with Two Pupils, Marie-Gabrielle Capet and Marie-Marguerite Carreaux de Rosemond, 1785, oil on canvas, 210.8 × 151.1 cm, The Metropolitan Museum of Art, New York, Gift of Julia A. Berwind, 1953, 53.225.5, CC
      • Fig. 2.4 Marie-Gabrielle Capet, Portrait présumé de Mademoiselle Mars, miniature, 1799–1800 © RMN-Grand Palais / Art Resource, NY.
      • Fig. 2.5 Marie-Gabrielle Capet, Charles Meynier, 1799, pastel, Paris, Ecole nationale supérieure des beaux-arts, Caen © Beaux-Arts de Paris, Dist. RMN-Grand Palais / Art Resource, NY.
      • Fig. 3.1 Anne Guéret, Portrait of an Artist Resting on a Portfolio (Portrait d’une artiste appuyée sur un portefeuille) (self-portrait?), n.d. (Salon 1793, no. 765), black chalk with stumping, pen and grey ink and grey wash, heightened with white gouache
      • Fig. 3.2 Marie-Geneviève Bouliar, Aspasie, 1794, oil on canvas, 123 × 127 cm, Musée des Beaux-Arts d’Arras, Arras / Bridgeman Images.
      • Fig. 3.3 Marie Victoire Lemoine, The Interior of an Atelier of a Woman Painter, 1789, oil on canvas, 116.5 × 88.9 cm, The Metropolitan Museum of Art, New York, Gift of Mrs. Thorneycroft Ryle, 1957, 57.103, CC0.
      • Fig. 3.4 Antoine Maxime Monsaldy and G. Devisme, “Vue des Ouvrages de Peinture,” 1801, etching, 24.8 × 38 cm, The Metropolitan Museum of Art, New York, The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1959, 59.601.3, CC0.
      • Fig. 4.1 Jean-Siméon Chardin, The Morning Toilette, detail of Plate 10, 1740, oil on canvas, Nationalmuseum, Stockholm © Swedish National Art Museum / Bridgeman Images.
      • Fig. 4.2 Charles-Antoine Coypel, Young Woman in front of a Mirror (Mädchen vor dem Spiegel), 1730, oil on canvas, Schloss Sanssouci, Potsdam, Prussian Palaces and Gardens, Foundation Berlin-Brandenburg, GK I 5636. Photo: Wolfgang Pfauder.
      • Fig. 4.3 Jean-Siméon Chardin, The Washerwoman, 1734, oil on canvas, 37 × 42.5 cm, Nationalmuseum, Stockholm © Swedish National Art Museum / Bridgeman Images.
      • Fig. 4.4 Jean-Siméon Chardin, The Diligent Mother (La mère laborieuse), 1740, oil on canvas, 49 × 39 cm, Musée du Louvre, Paris © RMN-Grand Palais / Art Resource, NY.
      • Fig. 4.5 Jean-Siméon Chardin, Saying Grace (La Bénédicté), Salon of 1740, oil on canvas, 49.5 ×41 cm, Musée du Louvre, Paris © RMN-Grand Palais / Art Resource, NY. Photo: Franck Raux.
      • Fig. 4.6 Jean-Siméon Chardin, The Good Education, ca. 1753, oil on canvas, 41 × 47 cm, The Museum of Fine Arts, Houston, Gift in memory of George R. Brown by his wife and children, 85.18. Photograph © The Museum of Fine Arts, Houston; Thomas R. DuBrock.
      • Fig. 4.7 Jean-Siméon Chardin, Child with a Top, ca. 1737–38, oil on canvas, 67 × 76 cm, Musée du Louvre, Paris, Luisa Ricciarini / Bridgeman Images.
      • Fig. 4.8 Jean-Siméon Chardin, The House of Cards, ca. 1736–37, oil on canvas, 60 × 72 cm, National Gallery, London, bequeathed by Mrs. Edith Cragg, as part of the John Webb Bequest, 1925, National Gallery, London, Luisa Ricciarini / Bridgeman Images.
      • Fig. 4.9 Jean-Siméon Chardin, The Game of Knucklebones, ca. 1734, oil on canvas, 81.9 × 65.6 cm (32 1/4 × 25 13/16 in.), The Baltimore Museum of Art, The Mary Frick Jacobs Collection, BMA 1938.193. Photo: Mitro Hood.
      • Fig. 4.10 Charles-Nicolas Cochin after Jean-Siméon Chardin, Little Girl Enjoying Her Lunch, 1738, etching and engraving, The Metropolitan Museum of Art, New York, Harris Brisbane Dick Fund, 1953, CC0.
      • Fig. 4.11 Jean-Baptiste Greuze, The Dead Bird, 1765, oil on canvas, oval, 53.3 × 46 cm, National Galleries Scotland, Edinburgh © National Galleries of Scotland / Bridgeman Images.
      • Fig. 4.12 Jean-Siméon Chardin, Soap Bubbles, ca. 1733–34, oil on canvas, 81.28 × 93.98 × 10.16 cm (32 × 37 × 4 in.), National Gallery, Washington, CC0.
      • Fig. 5.1 Antoine Vestier, Allegory of Art (Portrait of Nicole Vestier), 1788 (Salon of 1789), 80 × 63.5 cm, The Horvitz Collection, Wilmington, Delaware.
      • Fig. 5.2 Jean-Baptiste Oudry, Presumed Portrait of Lieutenant Claude-André Courtin de Croüy, Seigneur des Quatre-Fils et Cormeil-en-Parisis, 1723, 100 × 80 cm, The Horvitz Collection, Wilmington, Delaware.
      • Fig. 5.3 Nicolas de Largillière, Portrait of a Woman, Possibly Madame Claude Lambert de Thorigny (Marie Marguerite Bontemps, 1668–1701), and an Enslaved Servant, 1696, The Metropolitan Museum of Art, New York, Rogers Fund, 1903, 03.37.2, CC0.
      • Fig. 5.4 Jean-Baptiste Oudry, Barbet Guarding Game, n.d. (1728), Musée de la Chasse et de la Nature, Paris, Manuel Cohen / Art Resource, NY.
      • Fig. 5.5 Jean-Baptiste Oudry, The Dead Wolf, 1721, 193 × 260 cm, Wallace Collection, London © Wallace Collection, London / Bridgeman Images.
      • Fig. 5.6 Alexandre-François Desportes, Diane and Blonde, 1702, 162 × 200 cm, Musée de la Chasse et de la Nature, Paris, deposit of the Louvre © RMN-Grand Palais / Art Resource, NY.
      • Fig. 5.7 Alexandre-François Desportes, Nonette Pointing at a Pheasant, 1714, 180 × 172 cm, Musée de la Chasse et de la Nature, Paris. Source: Author.
      • Fig. 6.1 Charles de La Fosse, Standing Young Woman in Fashionable Dress Black, red and white chalk on cream antique laid paper, 41.5 × 22.4 cm, The Horvitz Collection, Wilmington, Delaware.
      • Fig. 6.2 Charles de la Fosse, Finding of Moses, ca. 1695–1700, oil on canvas, 46.99 x 55.88 cm (18.5 × 22 in), Thomas P. Moore II; Sansom Foundation; L. Russell Cartwright; Joseph R. Skelton; Fritz and Mildred Kaeser Endowment for Liturgical Art; Richard
      • Fig. 6.3 Jean-Honoré Fragonard, The Souvenir, ca. 1776–78, oil on panel, 25.5 × 19 cm, The Wallace Collection, London, P382 © Wallace Collection / Bridgeman Images.
      • Fig. 6.4 Nicholas Dupin after Pierre-Thomas LeClerc, “Couturière élégante allant livrer son ouvrage,” Gallerie des modes et costumes français, edited by Jacques Esnauts and Michel Rapilly. 11e Cahier des Costumes Français, 5e Suite d’Habillements à la mod
      • Fig. 6.5 Carl Guttenberg after Jean-Baptiste Moreau, called Moreau le Jeune, Le Rendez-vous pour Marly, plate 21 in Second Suite d’estampes pour servir à l’histoire des modes et du costume en France dans le dix-huitième siècle, 1777, engraving, 40.5 × 31 
      • Fig. 6.6 P. A. Martini after Jean-Baptiste Moreau, called Moreau le Jeune, Les Précautions, plate 14 in Second Suite d’estampes pour servir à l’histoire des modes et du costume en France dans le dix-huitième siècle, 1777, engraving, 21.3 × 17 cm (8 3/8 ×
      • Fig. 6.7 A. B. Duhamel after Jean Florentin Defraine, Magasin des modes nouvelles, françaises et anglaises 4, no. 35 (December 11, 1789), pls. 2–3 [unnamed hats and two models], detail hand-colored engraving, 18.6 × 31.1 cm, folded out; 18.6 × 10.7 cm, le
      • Fig. 7.1 Marie-Thérèse Reboul, Plate 5, Illustration from Pierre Tarin, Adversaria anatomica, de omnibus corporis humani partium, tum descriptionibus, cum picturis. Adversaria anatomica prima, de omnibus cerebri, nervorum & organorum functionibus animalib
      • Fig. 7.2 Marie-Thérèse Reboul, Illustration from Michel Adanson, Histoire naturelle du Sénégal: Coquillages (1757), Public Domain. Image courtesy of the History of Science Collections, University of Oklahoma.
      • Fig. 7.3 Marie-Thérèse Reboul, Madrepore from Catalogue systématique et raisonné des curiosités de la nature et de l’art qui composent le Cabinet de M. Dávila (Paris, 1767), Public Domain. Image courtesy of the History of Science Collections, University o
      • Fig. 7.4 Anon., Duvivier Family album page, The Duvivier Family with Mme Vien in a Louvre Apartment, pl. XII in Henri Nocq, Les Duviviers: Jean Duvivier, Benjamin Duvivier (Paris: Société de la propagation des livres d’art, 1911), p. 114, Public Domain.
      • Fig. 7.5 Joseph-Marie Vien, Sweet Melancholy, 1756, Cleveland Museum of Art, Cleveland, Mr. and Mrs. William H. Marlatt Fund, 1996.1, CC0.
      • Fig. 7.6 Joseph-Marie Vien, The Seller of Loves, 1763, Musée national du Château de Fontainebleau © RMN-Grand Palais / Art Resource, NY.
      • Fig. 7.7 Joseph-Marie Vien, Venus Showing Mars Her Doves Making a Nest in His Helmet, 1768, The State Hermitage Museum, St Petersburg. Photograph © The State Hermitage Museum/Photo: Natalia Volker, Inna Regentova.
      • Fig. 7.8 Marie-Thérèse Reboul, Flowers in a Crystal Vase, n.d., Musée Fabre, Montpellier.
      • Fig. 9.1 Maurice Quentin de La Tour, Mlle Ferrand méditant sur Newton, 1752, pastel on paper, 73.5 × 60.3 cm, Alte Pinakothek, Munich © Creative Commons, CC BY-SA 4.0 Deed.
      • Fig. 9.2 Engraving by Louis-Simon Lempereur after Claude-Henri Watelet, Portrait of Marguerite Le Comte, ca. 1750, Bibliothèque municipale de Besançon, Collection Pierre-Adrien Pâris, Carton H, no. 64.
      • Fig. 9.3 Abbé Jean-Claude Richard de Saint-Non after Jean-Baptiste Le Prince Frontispiece for Varie vedute del gentile mulino, 1755, etching, 14.6 × 20.5 cm © Staatliche Kunsthalle Karlsruhe, CC0.
      • Fig. 9.4 Marguerite Le Comte after Rembrandt Harmensz van Rijn, Beggar, etching, 19.5 × 14.3 (plate), Kupferstichkabinett, Berlin, No 803-59 © Staatliche Museen zu Berlin, Kupferstichkabinett / Volker-H. Schneider, Public Domain Mark 1.0.
      • Fig. 9.5 Marguerite Le Comte, Four Landscapes, etching, 26.5 × 35.5 cm (entire sheet) © Staatliche Kunsthalle Karlsruhe, CC0.
      • Fig. 9.6 Etching (proof stage) by Claude-Henri Watelet after Étienne de Lavallée-Poussin, Portrait of Marguerite Le Comte during Their Visit to Rome, 1764, 24.9 × 19 cm (sheet), The Metropolitan Museum of Art, New York, CC0.
      • Fig. 9.7 Maurice Quentin de La Tour, Marguerite Le Comte tenant un papier de Musique, detail of Plate 19, 1753, pastel on paper, 64.8 × 52.5 cm, Staatliche Kunsthalle Karlsruhe © CC0.
      • Fig. 10.1 Joshua Reynolds, The Ladies Waldegrave, 1780, oil on canvas, Purchased with the aid of The Cowan Smith Bequest and The Art Fund, 1952 © National Galleries of Scotland, Edinburgh, Dist. RMN-Grand Palais / Art Resource, NY.
      • Fig. 10.2 Charles Jervas, Lady Elizabeth and Lady Henrietta Finch, ca. 1730–31, oil on canvas, The Iveagh Bequest, Kenwood House, London © Historic England / Bridgeman Images.
      • Fig. 10.3 Aegidius Sadeler II, after Titian, Portrait of Laura dei Dianti, 1600–1627, engraving, The Metropolitan Museum of Art, New York, Bequest of Herbert Mitchell, 2008, 2018.839.161, CC0.
      • Fig. 10.4 Pierre Mignard, Louise de Kéroualle, Duchess of Portsmouth with an Unknown Female Attendant, 1682, oil on canvas © National Portrait Gallery, London.
      • Fig. 10.5 Allan Ramsay, The Artist’s Wife, Margaret Lindsay of Evelick, 1758, oil on canvas, National Galleries of Scotland, Edinburgh © National Galleries of Scotland / Bridgeman Images.
      • Fig. 10.6 Edward Fisher, after Sir Joshua Reynolds, Lady Elizabeth Keppel and a Servant, 1760s, mezzotint on medium, slightly textured, cream laid paper, Yale Center for British Art, New Haven, Connecticut, Paul Mellon Fund, B1970.3.178, CC0 1.0 Universal
      • Fig. 10.7 Attrib. Scipio Moorhead, frontispiece, Phillis Wheatley Peters, Poems on Various Subjects, Religious and Moral (London, 1773), Collection of the Massachusetts Historical Society.
      • Fig. 11.1 Marie Guillemine Benoist, Portrait de femme noire, 1800, oil on canvas, Musée du Louvre, Paris, Inv. 2508 © RMN-Grand Palais / Art Resource, NY.
      • Fig. 11.2 Jacques-Louis David, Madame Charles-Louis Trudaine, née Marie-Louis-Josèphe Micault de Courbeton, 1794, oil on canvas, 130 × 98 cm, Musée du Louvre, Paris, RF 670 © RMN-Grand Palais / Art Resource, NY.
      • Fig. 11.3 Anne-Louis Girodet de Roussy-Trioson, The Portrait of Citizen Jean-Baptiste Belley, Ex-Representative of the Colonies, 1797, oil on canvas, Château et Musée de Versailles, Versailles, MV4616 © RMN-Grand Palais / Art Resource, NY.
      • Fig. 11.4 Antoine-Jean Gros, The Republic, 1793, oil on canvas, Château et Musée de Versailles, Versailles, MV5498 © RMN-Grand Palais / Art Resource, NY.
      • Fig. 11.5 Dominique Harcourt Lamiral, Types et costumes du Sénégal, Illustration in L’Afrique et le Peuple africain considéré sous tous leurs rapports avec notre commerce et nos colonies (Paris: Dessene, 1789), facing p. 46, Bibliothèque nationale de Fran
      • Fig. 11.6 William Blake, after John Gabriel Stedman, A Surinam Planter in His Morning Dress, 1793, print (engraving), 25.2 × 18 cm (sheet), Illustration in John Gabriel Stedman, Narrative of a Five Year’s Expedition against the Revolted Negroes of Surinam
      • Fig. 11.7 Attributed to Jean-Baptiste Debret, Don Pedro et sa nourrice, n.d., oil on canvas, 55 × 44 cm, Museu Imperial, Pétropolis, Brazil / IBRAM / MinC.
      • Fig. 11.8 Lucílio de Albuquerque, Mãe preta, 1912, oil on canvas, 150 × 112 cm, Museu de Arte da Bahia, Salvador, Brazil, Svintage Archive / Alamy Stock Photo.
      • Fig. 11.9 Jean-Baptiste Perronneau, Portrait d’une femme en robe bleue avec son serviteur noir, 1746, pastel, Musée des Beaux-Arts, Orléans / Bridgeman Images.
      • Fig. 11.10 Marius-Pierre Le Masurier, Portrait de la famille Choiseul-Meuse in Martinique, 1775, oil on canvas, Musée d’Aquitaine, Bordeaux. Source: author.
      • Fig. 11.11 Agostino Brunias, Free Women of Color with Their Children and Servants in a Landscape, ca. 1770–96, oil on canvas, Brooklyn Museum of Art, New York, Gift of Mrs. Carll H. de Silver in memory of her husband, by exchange and gift of George S. Hel
      • Fig. 11.12 François Malépart de Beaucourt, Portrait of a Black Woman with Still Life, 1786, oil on canvas, Don de David Ross McCord, McCord Museum, Montreal, CC0 1.0 DEED CC0 1.0 universal.
  • Add_9789048558834_KK.pdf
    • Plate 1 Marie-Denise (Nisa) Villers, Young Woman Drawing (Marie Joséphine Charlotte du Val d’Ognes) (1786–1868), 1801, oil on canvas, 161.3 x 128.6 cm, The Metropolitan Museum of Art, New York, Mr. and Mrs. Isaac D. Fletcher Collection, Bequest of Isaac D
    • Plate 2 Constance Mayer, Self-Portrait with the Artist with her Father, 1801, oil on canvas, 89 x 70 1/2 in. (226 x 179 cm), Wadsworth Atheneum Museum of Art, Hartford, CT, The Ella Gallup Summer and Mary Catlin Summer Collections Fund, 1989.1 Allen Phill
    • Plate 3 Marie-Victoire Lemoine, A Young Woman Leaning on the Edge of a Window (Une jeune femme appuyée sur le bord d’une croisée), ca. 1798–99, 195.6 × 137.5 cm, 2022.1527, Courtesy of the National Gallery of Victoria, Melbourne.
    • Plate 4 Adèle Romany, Portrait of a Woman Artist, 1799, Musée des Beaux-Arts, Rouen, France / Bridgeman Images.
    • Plate 5 Henriette Lorimier, Self-Portrait, 1807, Musée Magnon, Dijon © RMN-Grand Palais / Art Resource, NY.
    • Plate 6 Henriette Lorimier, Self-Portrait, 1801, private collection, Photo © Christie’s Images/Bridgeman Images.
    • Plate 7 Marie-Gabrielle Capet, Studio Scene, 1808, oil on canvas, 69 × 83.5 cm, bpk Bildagentur / Munich Neue ­Pinakothek / Art Resource, NY.
    • Plate 8 The Paris Salon, 1791–1827 – Genres Exhibited by Women. Courtesy of the author.
    • Plate 9 The Paris Salon, 1791–1827 – Proportional Genres Exhibited by Women. Courtesy of the author.
    • Plate 10 Jean-Siméon Chardin, The Morning Toilette, 1740, oil on canvas, 49 x 39 cm. Nationalmuseum, Stockholm, Sweden© Swedish National Art Museum /Bridgeman Images.
    • Plate 11 Jean-Siméon Chardin, Girl with a Shuttlecock, ca. 1737, oil on canvas, 81 x 65cm. Private Collection/France. Erich Lessing / Art Resource, NY.
    • Plate 12 Alexandre-François Desportes, Portrait of a Hunter, 1705, 128.5 x 97 cm, Kunstmuseum Basel. Photo: Kunstmuseum.
    • Plate 13 Alexandre-François Desportes, Nonette pointing, nd, oil on paper adhered to canvas, 38 x 57 cm, Musée internationale de la chasse, Gien (inv. 2365, deposit from the manufacture de Sèvres).
    • Plate 14 Jean-Honoré Fragonard, Young Woman Standing, ca. 1775–80, red chalk on paper, 38 x 24.2 cm, Rijksmuseum, Amsterdam, CC0 1.0 Universal.
    • Plate 15 Jean-Baptiste Moreau, called Moreau le Jeune, study for Les Adieux, plate 22 in Second Suite d’estampes pour servir à l’histoire des modes et du costume en France dans le dix-huitième siècle, 1777, Black ink, brown wash, and graphite on paper, 26
    • Plate 16 Marie-Thérèse Reboul, Two Pigeons on a Tree Branch, Salon of 1763, 1762, INV 33267. Musée du Louvre / Art Resource, NY.
    • Plate 17 Joseph-Marie Vien, Portrait of Madame Vien, 1760, inv. 55.7.2, © Musée Fabre de Montpellier Méditerranée Métropole – photographie Frédéric Jaulmes.
    • Plate 18 Madeleine Françoise Basseporte, Ixie, Ixia. Family: Iridaceae. Plate Plantes, 12, Folio: 36, Muséum national d’Histoire naturelle, Paris, France © RMN-Grand Palais / Art Resource, NY.
    • Plate 19 Maurice Quentin de La Tour, Marguerite Le Comte tenant un papier de Musique, 1753, pastel on paper, 64.8 x 52.5 cm. Staatliche Kunsthalle Karlsruhe © CC0.
    • Plate 20 David Martin, Portrait of Dido Elizabeth Belle and Lady Elizabeth Murray, ca.1780, oil on canvas, Courtesy of the Earl of Mansfield, Scone Palace, Perth.
    • Plate 21 Johann Georg Ziesenis, Queen Charlotte (1744–1818) when Princess Sophie Charlotte of Mecklenburg-Strelitz, ca.1761, oil on canvas, Royal Collection Trust © His Majesty King Charles III, 2024, Bridgeman Images. Paris. It corresponds to Chapter 10.
    • Plate 22 Adolphe d’Hastrel de Rivedoux, La Signare de Gorée avec ses esclaves, ca. 1839, color print, G. Broudic - Musée dela Compagnie des Indes -Ville de Lorient . It corresponds to Chapter 11.
    • Plate 23 Plate 1: Femme du Sénégal, Esquisses sénégalaises de l’abbé David Boilat (Paris, 1853), Bibliothèque nationale de France, Paris. It corresponds to Chapter 11.
  • Add_9789048558834_KK.pdf
    • Plate 1 Marie-Denise (Nisa) Villers, Young Woman Drawing (Marie Joséphine Charlotte du Val d’Ognes) (1786–1868), 1801, oil on canvas, 161.3 x 128.6 cm, The Metropolitan Museum of Art, New York, Mr. and Mrs. Isaac D. Fletcher Collection, Bequest of Isaac D
    • Plate 2 Constance Mayer, Self-Portrait with the Artist with her Father, 1801, oil on canvas, 89 x 70 1/2 in. (226 x 179 cm), Wadsworth Atheneum Museum of Art, Hartford, CT, The Ella Gallup Summer and Mary Catlin Summer Collections Fund, 1989.1 Allen Phill
    • Plate 3 Marie-Victoire Lemoine, A Young Woman Leaning on the Edge of a Window (Une jeune femme appuyée sur le bord d’une croisée), ca. 1798–99, 195.6 × 137.5 cm, 2022.1527, Courtesy of the National Gallery of Victoria, Melbourne.
    • Plate 4 Adèle Romany, Portrait of a Woman Artist, 1799, Musée des Beaux-Arts, Rouen, France / Bridgeman Images.
    • Plate 5 Henriette Lorimier, Self-Portrait, 1807, Musée Magnon, Dijon © RMN-Grand Palais / Art Resource, NY.
    • Plate 6 Henriette Lorimier, Self-Portrait, 1801, private collection, Photo © Christie’s Images/Bridgeman Images.
    • Plate 7 Marie-Gabrielle Capet, Studio Scene, 1808, oil on canvas, 69 × 83.5 cm, bpk Bildagentur / Munich Neue ­Pinakothek / Art Resource, NY.
    • Plate 8 The Paris Salon, 1791–1827 – Genres Exhibited by Women. Courtesy of the author.
    • Plate 9 The Paris Salon, 1791–1827 – Proportional Genres Exhibited by Women. Courtesy of the author.
    • Plate 10 Jean-Siméon Chardin, The Morning Toilette, 1740, oil on canvas, 49 x 39 cm. Nationalmuseum, Stockholm, Sweden© Swedish National Art Museum /Bridgeman Images.
    • Plate 11 Jean-Siméon Chardin, Girl with a Shuttlecock, ca. 1737, oil on canvas, 81 x 65cm. Private Collection/France. Erich Lessing / Art Resource, NY.
    • Plate 12 Alexandre-François Desportes, Portrait of a Hunter, 1705, 128.5 x 97 cm, Kunstmuseum Basel. Photo: Kunstmuseum.
    • Plate 13 Alexandre-François Desportes, Nonette pointing, nd, oil on paper adhered to canvas, 38 x 57 cm, Musée internationale de la chasse, Gien (inv. 2365, deposit from the manufacture de Sèvres).
    • Plate 14 Jean-Honoré Fragonard, Young Woman Standing, ca. 1775–80, red chalk on paper, 38 x 24.2 cm, Rijksmuseum, Amsterdam, CC0 1.0 Universal.
    • Plate 15 Jean-Baptiste Moreau, called Moreau le Jeune, study for Les Adieux, plate 22 in Second Suite d’estampes pour servir à l’histoire des modes et du costume en France dans le dix-huitième siècle, 1777, Black ink, brown wash, and graphite on paper, 26
    • Plate 16 Marie-Thérèse Reboul, Two Pigeons on a Tree Branch, Salon of 1763, 1762, INV 33267. Musée du Louvre / Art Resource, NY.
    • Plate 17 Joseph-Marie Vien, Portrait of Madame Vien, 1760, inv. 55.7.2, © Musée Fabre de Montpellier Méditerranée Métropole – photographie Frédéric Jaulmes.
    • Plate 18 Madeleine Françoise Basseporte, Ixie, Ixia. Family: Iridaceae. Plate Plantes, 12, Folio: 36, Muséum national d’Histoire naturelle, Paris, France © RMN-Grand Palais / Art Resource, NY.
    • Plate 19 Maurice Quentin de La Tour, Marguerite Le Comte tenant un papier de Musique, 1753, pastel on paper, 64.8 x 52.5 cm. Staatliche Kunsthalle Karlsruhe © CC0.
    • Plate 20 David Martin, Portrait of Dido Elizabeth Belle and Lady Elizabeth Murray, ca.1780, oil on canvas, Courtesy of the Earl of Mansfield, Scone Palace, Perth.
    • Plate 21 Johann Georg Ziesenis, Queen Charlotte (1744–1818) when Princess Sophie Charlotte of Mecklenburg-Strelitz, ca.1761, oil on canvas, Royal Collection Trust © His Majesty King Charles III, 2024, Bridgeman Images. Paris. It corresponds to Chapter 10.
    • Plate 22 Adolphe d’Hastrel de Rivedoux, La Signare de Gorée avec ses esclaves, ca. 1839, color print, G. Broudic - Musée dela Compagnie des Indes -Ville de Lorient . It corresponds to Chapter 11.
    • Plate 23 Plate 1: Femme du Sénégal, Esquisses sénégalaises de l’abbé David Boilat (Paris, 1853), Bibliothèque nationale de France, Paris. It corresponds to Chapter 11.

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