Marie-guillemine benoist self-portrait

Marie-guillemine benoist, portrait of madeleine
Marie-Guillemine Benoist, born Marie-Guillemine Laville-Leroux, was a French neoclassical, historical, and genre painter.
Benoist was born in Paris in 1768.

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Marie-Guillemine Benoist

Bibliography

A Checklist of Painters ca. 1200–1976 represented in the Witt Library, Courtauld Institute of Art, London. London: Mansell, 1978.

Allgemeines Künstlerlexikon: die bildenden Künstler aller Zeiten und Völker. Munich: Saur, 1992.

“Benoist, Marie Guilhelmine.” Oxford Art Online. https://doi-org.proxyiub.uits.iu.edu/10.1093/benz/9780199773787.article.B00016530.

Bishop, Cécile. “Portraiture, race, and subjectivity: the opacity of Marie-Guillemine Benoist’s Portrait d’une négresse.” Word & Image 35 (2019): 1–11.

Chapman, Caroline. Eighteenth-Century Women Artists: Their Trials, Tribulations, and Triumphs. London: Unicorn, 2017.

Fine, Elsa Honig. Women & Art: A History of Women Painters and Sculptors from the Renaissance to the 20th Century. London: Allanheld & Schram, 1978.

Heller, Nancy G. Women Artists: An Illustrated History. New York and London: Abbeville, 2003.

Honour, Hugh. The Image of the Black in Western Art. 5 vols. Cambridge: Harvard University Press, 1989.

“Marie-Guilhelmine Benoist.” RKD. https://rkd.nl/explor

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Marie-Guillemine Benoist

French artist (1768–1826)

Marie-Guillemine Benoist, born Marie-Guillemine Laville-Leroux (18 December 1768 – 8 October 1826), was a French neoclassical, historical, and genrepainter.

Biography

Benoist was born in Paris,^[1] the daughter of a civil servant. Her training as an artist began in 1781 under Élisabeth Vigée Le Brun, and she entered Jacques-Louis David's atelier in 1786 along with her sister Marie-Élisabeth Laville-Leroux.

Benoist first exhibited in the Exposition de la Jeunesse in 1784, showing a portrait of her father and two pastel studies of heads. She continued to exhibit at the Exposition until 1788.^[2] The poet Charles-Albert Demoustier, who met her in 1784, was inspired by her in creating the character Émilie in his work Lettres à Émilie sur la mythologie (1801).

In 1791, Benoist exhibited for the first time at the Paris Salon, displaying her mythology-inspired picture Psyché faisant ses adieux à sa famille. Another of her paintings of this period, L'Innocence entre la vertu et le vice, i

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Marie-Guillemine Benoist, Revolutionary Painter

Guest post by Paris A. Spies-Gans, Harvard Society of Fellows

In July 2020, an oil painting appeared on the art market that had long been thought lost (fig. 1). A medium-sized canvas, 111 x 145 centimeters (3.6 x 4.7 feet), it depicted a sinuous woman in white, one arm in the air, parting from a group of mournful figures in classical attire. Two pairs of women stand entwined, another figure prays, and a crowned man holds his face in his hands. Behind the bereaved group loom rocky crags and a clouded sky. This painting, portraying The Farewell of Psyche to her Family, had last appeared publicly in 1791, as part of the Louvre Salon debut of the painter Marie-Guillemine Benoist, b. Leroulx-Delaville (1768–1826). The presiding auction house in Bordeaux estimated a hammer price of 45,000 to 60,000 euros, a reasonable enough guess for a little-known woman artist whose last auctioned canvas had garnered 114,884 euros in 2004. Instead—it hammered in at 362,080 euros.

Training and Self-Fashioning

Benoist has f