The Memoirs of Madame Vigée Lebrun — Inside the Classic

A Painter's Eye for Detail

Vigée-Lebrun's descriptions are consistently visual, as one might expect from a portraitist. When recounting the death of Catherine the Great, she notes the Empress's "beautiful hand resting on the bed" and the fact that she herself "had never kissed it in her lifetime." This choice to avoid the hand, even in death, reveals a personal boundary that is both intimate and professional. Similarly, her account of the funeral procession for Peter III and Catherine II is framed as a spectacle: "I saw the marvellous procession from my window as one sees a play from a box in the theatre." The simile underscores her role as an observer, even in moments of political upheaval. These details are not mere embellishments; they are the raw material of her craft, applied to writing as she would to a canvas.

The Voice of a Working Artist

The memoirs are punctuated by practical concerns that reveal the business of art in the 18th century. Vigée-Lebrun mentions that her husband allowed her "naught per cent. of her earnings," a financial detail that speaks to her constrained position despite her fame. She also describes the tedium of sitting for portraits and the social rituals surrounding commissions. Her language is often understated: when the Empress Catherine agrees to sit for a portrait, she quotes her saying, "I am very old, but still, as they all wish it, I will give you the first sitting this day week." The matter-of-fact tone here contrasts with the gravity of the moment—the sitting never occurred due to Catherine's sudden death. This blend of the mundane and the momentous is characteristic of the narrative.

Navigating Revolution and Exile

Vigée-Lebrun's account of the French Revolution is filtered through her personal experience of flight and displacement. She describes her "fearsome journey to Italy" and the "renewed artistic activity at Rome" that followed, but she does not dwell on political ideology. Instead, she observes the behavior of crowds: "The immense mob I saw on my way home in the palace square by no means tended to comfort me; nevertheless, all those people were so quiet that I soon concluded, and rightly, we had nothing to fear for the moment." This pragmatic assessment, based on visual cues rather than abstract analysis, is typical of her method. The memoirs thus offer a unique perspective on historical events—one grounded in the sensory experience of a woman who painted many of the era's key figures.

Portraits of Patrons and Peers

Throughout the memoirs, Vigée-Lebrun sketches her subjects in words with the same economy she might use in a preparatory drawing. Of Lady Hamilton, she notes "the remarkable life" and "frivolous flirt," but the excerpts do not elaborate, leaving the reader to infer that the full portrait is more complex. Similarly, her mention of the Princess de Lamballe and Mme. Du Barry is brief, yet each is given a distinctive trait: Du Barry is "sketched in words" and "painted in oils," a doubling that emphasizes the interplay between her two mediums. These characterizations are never exhaustive; they are glimpses, much like the sitters who passed through her studio. The memoirs, in this sense, function as a gallery of verbal portraits, each incomplete but vivid.

Readers approaching these memoirs should attend to what Vigée-Lebrun chooses to show and what she leaves in shadow. Her silences—about her husband's gambling, about the full horrors of the Revolution—are as telling as her descriptions. The translator's note indicates that this edition is slightly abridged, so some gaps may be editorial. Yet even in its present form, the work offers a rare, unvarnished view of an artist's life, recorded by a woman who painted the faces of power and survived to tell the tale.