A Comparative Study in Royal Portraits - Ava Antonie

For my comparative study I decided to analyze royal portraiture from France

in the time of revolution, and in 17th century China. I chose these pieces because of
their unique purposes in influencing the opinions of the people at the time- what factors
in a painting were important in swaying public opinion, and the unique backgrounds
that influenced their creation.
Elisabeth Louise Vigee-LeBrun
was an incredibly prominent portrait artist
in France in the 18th century who worked
mostly in the Rococo style, known for its
extravagant decadence and ornate-ness.
LeBrun is best known for her work with
Marie Antoinette- an especially
controversial royal figure at the time.
LeBrun fled France to Italy for her own
Élisabeth Louise Vigée-LeBrun, Portrait of Marie Élisabeth Louise Vigée-LeBrun, Marie Antoinette in safety during the revolution because of her
Antoinette with Her Children, 1787, Palace of a Chemise dress, 1783, Palace of Versailles,
Versailles, Versailles, France. Versailles, France. association with the royal family.
Like most other royal societies, Chinese emperors frequently had portraits done to share their image of high class and power
with their people. Zhu Youjiao was as especially controversial emperor, ruling from 1605-1627 as a Monarch of the Ming
Dynasty. The artist behind this piece goes unnamed- as court artists of the Ming Dynasty typically did not receive public
recognition for their work the way that artists independent of the monarchy tend to. Court paintings throughout most of
Chinese history were usually flat, however were very detailed and intricate.
Portrait of Tianqi Emperor Zhu Youjiao, By Court Artist of the Ming
Dynasty — Taipei Palace Museum
 Cultural Context
Zhu Youjiao was the 16th emperor of the
Ming Dynasty, ruing for 7 years from 1620
To 1627. He became emperor after the Details of the dragons on the
legs of the throne Details of the dragons on the back of the
death of his father who had ruled for less throne

than a month. Starting his reign at the age of 15, the emperor was
in charge of one of the most conflicted (internally and externally)
dynasties in China at the time. Zhu Youjiao was highly criticized
for allowing and participating in corruption, and was an extremely
controversial ruler among the people. Details of the dragons on the base of
the throne
In Chinese culture, the dragon was a very symbolic
Details of the face of Zhu Youjiao
And important creature very frequently included in art-
Especially portraits of the wealthy and powerful. The
dragon in China has very different meanings from the
Western dragon- which usually signifies evil, destruction,
and aggression. It instead represents strength, power, and Details of the dragons on the floor
good luck. Thus, most royal portraits throughout most of China's history included as many
dragons as it could fit in. In this work, dragons can be seen in almost every part of the
piece- in the walls, on the floor, in clothing and furniture. Portrait of Tianqi Emperor Zhu Youjiao, By Court Artist of
Along with the frequent inclusion of dragons in the art, the emperors were typically the Ming Dynasty — Taipei Palace Museum
seen in extravagant, colorful robes that displayed their wealth and extravagance.
The emperor's massive wealth was also conveyed through lavish items like intricately carved red and gold
tables, topped with lamps made from gold and a variety of jewels, along with vases, jewelry boxes, teapots, and
dragon-shaped incense holders carved from ivory. Everything in this artifact from the clothing of the emperor to
Details of the clothing of Zhu Youjiao
his throne and even the floor it sits on displays the excellent craftsmanship and attention to details that was put
into the expensive items given to imperial rulers of China at the time.
Details of the emperors side table
 Function and Purpose
Most royalty portraits throughout history, independent of culture or time period,
were used as a status symbol. Because commissioning a portrait was such a long and
difficult process, it was only the most wealthy who could afford to get portraits this
incredibly detailed done of them, and so it served as a way to convey wealth and
power. This is most obvious in the detailing of even basic elements like the floor,
which is covered in tiny intricate dragons and flowers. The emperor is posed with
beautifully carved side tables (also engraved
with . dragons) topped with vases and
boxes made of ……. gold, large jewels, and
ivory. Unlike artists that worked outside of the
court, court artists were very rarely named or Details of the side table
given credit in the display of their artwork. This
makes the portrait an artifact. Court artists also
had very little freedom in terms of what they
created, and were almost never meant to shock
or innovate. They stuck to the same style most
of the time, as requested by the royalty seen in
Details of the dragons on the floor
the portraits.
While these portraits were typically decorative, they
also carried some religious significance. By the
Portrait of Tianqi Emperor Zhu Youjiao, By Court Artist time Zhu Youjiao rose to power, the doctrine of
of the Ming Dynasty — Taipei Palace Museum Confucianism was made China's official religion.
Dragons were very significant in Confucian works
Seen here, a two-headed elephant artifact to the right at the time, as well as elephants. Dragons and
of Zhu Youjiao on the end table.
elephants commonly appear in the work. Details of the emperors robe
Details of elephant head artifact
 Formal Qualities
Court art of China during this time period was very flat. The
images did not have much dimension, without a clear light source.
This can be seen in the face of Zhu Youjiao, which has no shading,
highlights, or dimension. It instead creates shape using consistent
blocks of color, with thin lines to make the image of a face. This
application of line throughout the piece- which is typically thin and
light, or a similar color to the object it’s bordering While this makes
Details of flowers on the throne
the work very flat and dimension-less, it provides an incredible
amount of detail and a variety of form that can be seen in the smallest objects in the piece such as
the flowers resting on the throne or in the small dragon carvings of the throne itself. Details of Zhu Youjiaos face

This work is incredibly balanced in its composition, being almost symmetrical from left to
right. The emperor lies in the very center of the piece, directly facing the viewer with both hands
on his lap. The throne is symmetrical, with pots, side tables, flowers and hanging decorations on
both sides of it. The floor below the throne has an almost perfectly symmetrical pattern, with
dragons mirrored on each side. The only things that disrupt the symmetry of the artifact- at first
glance- is the differing items on the side tables and the darker hue of the flowers to the right of the
emperor. This symmetry creates a very balanced composition.
This artifact contains a variety of hues- mostly different shades of beige, orange, and grey.
Portrait of Tianqi Emperor Zhu Youjiao, By Court Artist of
They work together to give the piece a warmer tone. The lack of harsh black outlines in this the Ming Dynasty — Taipei Palace Museum
piece combined with the closeness of all the
Details of flowers on the throne
Color Pallette ..hues create an almost seamless feel to it.
The piece not only creates patterns with the color it uses but in the images it includes as well. The dragon image in the
artifact is repeated in almost every element of the piece- in the carvings of the throne, in the detailing on the floor, in the
robe of the emperor and on the walls. The flat, dimensionless look of this artifact gives it a smooth texture, almost like
textile or paneling.
 Cultural Context
‘Portrait of Marie Antoinette with Her Children’ was a piece used as propaganda
in a time of dissatisfaction amongst the French people. At the time, the peasants felt the
st effects of a major economic depression while royalty continued to raise taxes.
The Enlightenment was a philosophical and intellectual movement that promoted
liberalism and progress, as well as constitutional government, democracy, and the
separation of church and state. These ideals were spreading throughout the West and had
eventually made their way to France- a country that maintained its monarchy system.
Details of Marie Antoinette's face

As social unrest grew in France, the royal family seeked to improve

their public image- Marie Antoinette did this by getting several portraits
painted of her with her children. The goal of this was to portray herself as
“The Mother of France”, a loving, compassionate, and generous maternal
figure of the people.
Details of Marie Antoinette's Children

Along with the social climate of France at the time, the art movements of Rococo and Neoclassicism
(LeBrun was far more influenced by and involved in the Rococo movement) heavily influenced LeBruns
Élisabeth Louise Vigée-LeBrun, Portrait of Marie Antoinette with artwork, because the art culture of France was in the shift from Rococo in to Neoclassical art during the time of
Her Children, 1787, Palace of Versailles, Versailles, France.
this painting.
The Rococo style was condemned for being far too ornate and indulgent; and was considered immoral by proponents of the Enlightenment. In contrast,
Neoclassicism sought to portray life in a way that would sophisticate, inform, and spread moral messages to its viewers. Portrait of Marie Antoinette with Her
Children is more associated with the Rococo style, since portraits of Marie Antoinette were often some of the most ornate, decadent, and extravagant pieces. On
top of this, Le-Brun was very close to and supported the royal family, which heavily opposed those Enlightenment ideals of democracy, liberalism, and,
consequently, the new ideas of art and its purposes.

Élisabeth Louise Vigée-LeBrun, Marie Antoinette in a Chemise Dress, 1783,
Palace of Versailles, Versailles, France.
Cultural Context
Similarly to ‘Portrait of Marie Antoinette with Her
Children’, ‘Marie Antoinette in a Chemise Dress’
was used to portray the controversial, unpopular
royal figure in a more positive light. The goal of this
portrait was to boost public approval of the royal
family during a time of major economic depression
and anger against the wealthy french citizens.
While this portrait was not intended to at all bring
Details of Marie Antoinette’s face
more controversy to the already controversial
Marie Antoinette, it was- at first- heavily criticized for its “inappropriate Details of Marie Antoinette’s cotton chemise dress
portrayal of royalty”. The light cotton dress she is seen wearing here is more
of an underdress, and to critics, the Queen being seen in only her underdress
was considered inappropriate and immodest. Even the material of the gown
caused uproar amongst French officials. Cotton was a relatively cheap
material, often worn and used by the lower classes at the time. The Queen was
most commonly painted in large, extravagant silk dresses- silk being one of
the proud main exports of France. It was around this time that the silk market
in France completely crashed, and the demand for cotton soared. During the
time of the revolution, cotton, and other cheap materials like muslin or wool
became patriotic to wear. Similarly, fabrics like silk or velvet (another
common fabric amongst wealthy French citizens and royals) became
associated with the enemy of the revolution. Consequently, the cotton industry
exploded and became the fashionable fabric of choice amongst the majority.
An effect of this globally was the expansion of the slave trade in North
Amercica, after the Indian cotton industry could no longer keep up with high
demand.
Details of the roses
 Function and Purpose
In France at the time, getting a portrait done professionally was
a very expensive process. When royalty had portraits done, they would
wear their most expensive, extravagant outfits in order to assert their
wealth. The end goal of these portraits was to present them to the public,
and to create a certain image; typically of power and high class. For
most royal women, portraits aimed to portray femininity and
maternalism, often posed with decadent, conservative gowns, flowers,
and children, seen in both LeBrun paintings here.
Unlike works from slightly more experimental eras, French royal
portraits were typically not meant to shock or to innovate. (Although not
the intended purpose of Marie Antoinette in a Chemise Dress, the work
did shock many). Unlike work from the later Neoclassical art movement,
they did not seek to paint a story with a moral message, to inform on
historical events, or to highlight new technological, scientific, or
philosophical revelations. They were decorative, realistic pieces that did
not cause controversy and did not push boundaries. Being more Élisabeth Louise Vigée-LeBrun, Portrait of Marie Antoinette with
Her Children, 1787, Palace of Versailles, Versailles, France.
associated with the Rococo art period, LeBruns main focus was
decadence.
These portraits were symbols of French culture of the time, with Marie Antoinette always wearing the most
fashionable and extravagant gowns of that era. They also were patriotic and were intended to support the monarchy,
giving them further political purpose. Over all of these, however, they were intended to celebrate the Queen, her
wealth, her power, and her maternal femininity.

Élisabeth Louise Vigée-LeBrun, Marie Antoinette in a Chemise dress,

1783, Palace of Versailles, Versailles, France.
 Formal Qualities Color Pallette
The painting features Queen Marie Antoinette posed with 3 of her children. She is in a large red gown wearing a
matching hairpiece, with one child sitting on her lap and the other two standing next to her. What appears to be the oldest
child, in a matching red gown, leans against her while the child to the left seems to be much more out of focus. The visual
weight of the portrait lies slightly to the left of the center- that being where Marie Antoinette and two of the children are-
however the third child to the right of the Queen gives the piece a bit more balance, evenly distributing the weight.
The lighting of the room, mostly very dark with light coming in from the left side, puts the
emphasis on Marie Antoinette. Along with this, her fair skin being one of the brightest hues in the piece
further supports that emphasis; the viewers eyes are immediately drawn to her and travel down the
painting to look at the each of the children.
As for hue, this piece has a warmer tone to it. The background, along
with the people and the clothes they are wearing, are majority warmer hues.
Blood red is showcased in the extravagant dress of Marie Antoinette, as well as
in her hairpiece and in the dress of the child to the left of her. The child to the
far right wears warmer tones also, mostly brown. The baby in the lap of Marie
Antoinette wears white and a blue sash, however both of these hues continue to
have a warm undertone. This use of warm undertones throughout the whole
piece creates a sense of unity through hue.
The exaggerated lighting, however, gives the painting variety. There is
very clear dimension in the painting; it feels as if you could reach through and
. touch the people in it. Alongside a .
variety in hue and lighting within the .
piece, multiple textures are showcased. . . The
reflectiveness of the dress of the girl . to the
right of Marie Antoinette,and in the .
green-blue top of the child to the right, .
creates a silky texture, compared to a . more
Élisabeth Louise Vigée-LeBrun, Portrait of Marie Antoinette with
matte- likely rough- texture of the . dress of Marie.
Her Children, 1787, Palace of Versailles, Versailles, France. Texture of different fabrics in the piece
 Formal Qualities
In the piece Marie Antoinette in a Chemise Dress,
Marie Antoinette is the only subject, taking up most
of the canvas and lying in the center of the piece.
This creates symmetry and balance- there is an
equal weight of positive and negative space on
either side of the Queen.
The lighting in this portrait is dramatic and highly
contrasted, with areas like the face of Marie
Antoinette being a pale beige and the bottom right
of the dress almost blending in with the black
background. This lighting, which highlights the
face and chest of the subject, brings the eyes
immediately to Antoinette's large-brimmed hat,
down to the right hand holding the rose, and then
Details of Marie Antoinette’s cotton chemise down the bright chemise dress.
dress
The color palette for this piece consists mainly of warmer colors. The skin of Marie
Antoinette, along her hat, the bow, and the flowers she's holding along with the
table behind her are all warmer colors. Even the whites and greys of the painting, Élisabeth Louise Vigée-LeBrun, Marie Antoinette in a Chemise dress, 1783,
Palace of Versailles, Versailles, France.
seen in the chemise dress and the bow, have warm undertones that give the piece a
welcoming and personal feel.
Texture is one of the things that LeBrun utilizes to give diversity to her piece and makes it visually appealing. We can see
Color Pallette the soft texture in the feathers on her hat, along with her smooth skin and on the satin bow on her head, created by the
deep shadows and bright reflections of light off of it.. The golden bow and the chemise of the dress have a soft, but
textured look, both appearing more sheer and thin. The petals of the flowers appear soft and smooth, and her hair appears
dry and styled, because of its lack of bright highlights and sharp details. This variety in textures makes the piece
incredibly realistic.
 Similarities between Portrait of Tianqi Emperor Zhu Youjiao and Portrait of Marie
Antoinette with Her Children
The main similarity between Portrait of Tianqi Emperor Zhu Youjiao and Portrait of Marie Antoinette with Her Children
is in their function and purpose. Both of the pieces were made to portray royalty in a positive light and to represent to the people.
They show the main subject in a way that displays their wealth- in expensive and extravagant clothing. This was intended to
show the power of their rule to the citizens that they ruled over. Having access to an artist to create a portrait of you in itself was
a clear sign of wealth, as the process was lengthy and expensive, and royalty typically had access to these artists.

Portrait of Tianqi Emperor Zhu Youjiao, By Court
Artist of the Ming Dynasty — Taipei Palace Museum
Another similarity between the two pieces is the cultural context in which
they were created- but more specifically the reputation of the subjects when they
were created. Marie Antoinette is arguably one of the most hated royal figures in
history, being revolted against and killed in the French Revolution. Zhu Youjiao,
while not as controversia and infamous as Antoinette, had a reputation as a poor
leader due to the rampant disease and poverty in China at the time. While the
st
time period and area of creation are completely different for these pieces, both
were made while the rulers countries were struggling to keep their countries
(both of which have been extremely powerful and influential in several areas
such as technology and art for their time) in support of their rule.

Despite being very visually different in their formal qualities at first glance, these pieces share some similarities.
The most noticeable being the composition of the piece. The subject of the Chinese artifact lies in the center of the piece,
directly facing the viewers. Marie Antoinette in her portrait by LeBrun lies in the center, looking at the viewer as well. Their
position on the pieces give the piece symmetry, and the negative space that surrounds them is about equal on either side.
Another similarity that the artifact and the painting share is their color palette. The deep reds of the dress on Marie
Antoinette and the orange of the emperors robe give the pieces a warmer tone. One more similarity that they share is the
way that the lighting makes the eyes move across the painting, The face of the subject is the brightest part in both pieces and Élisabeth Louise Vigée-LeBrun, Portrait of Marie Antoinette with
immediately draws in the eyes- which then move downwards towards their flashy garments. Her Children, 1787, Palace of Versailles, Versailles, France.
 Similarities between Portrait of Tianqi Emperor Zhu Youjiao and Marie Antoinette
in a Chemise Dress
Again, the main similarity between the work of an anonymous court artist in Portrait of Tianqi Emperor Zhu
Youjiao and the work of LeBrun in Marie Antoinette in a Chemise Dress is their function and purpose. Both of the works
almost work as propaganda in their intentions to influence the public opinion of controversial and disliked royal figures.
The Chinese artifact depicts the emperor in a flashy, wealthy, and powerful way and the French painting by LeBrun seeks
to sway public opinion on Marie Antoinette by portraying her in a more down-to-earth light.

Another similarity that the two pieces share is the cultural context in which
they were created. Marie Antoinette in a Chemise Dress was made just a few years
before the height of French hatred towards her. The piece ignited controversy even
amongst her more wealthy supporters because of her portrayal in such immodest
‘undergarments’ not fit for a queen to be seen in. Similarly, at the end of his term
as emperor, Zhu Youjiao was quite unpopular amongst the Chinese lower class for
enabling rampant corruption in the government which inevitably lead to the
decline and collapse of the Ming Dynasty. War with the Mongols combined with
rampant disease made the dynasty a difficult place to live for those of lower
classes in a similar way to the societal structure of 18th century France and its
Élisabeth Louise Vigée-LeBrun, Marie Antoinette in a Chemise
allocation of wealth.
Dress, 1783, Palace of Versailles, Versailles, France.

Similarities in the formal qualities of the Chinese artifact and the French portrait can be found in their
composition, symmetry, balance, and color palette. Both of the subjects are centered in both pieces, creating a balance of
negative space on each side of the subject. This balance gives the pieces some symmetry. Portrait of Tianqi Emperor Zhu
Youjiao features several red and orange artifacts, seen in his robe, the side tables, the wall behind him, and many of the
Portrait of Tianqi Emperor Zhu Youjiao, By Court
Artist of the Ming Dynasty — Taipei Palace Museum
smaller detailings. The inclusion of many reds and oranges gives the piece a warmer tone, similarly to Marie Antoinette in
a Chemise Dress, which features warmer colors in the hat, skin, roses, side table behind her, and the bow on her dress.
 Similarities between Portrait of Marie Antoinette with Her Children
and Marie Antoinette in a Chemise Dress
Because these two portraits were done by the same artist, only 4 years apart from each other, they share the most
similarities. Here, the most obvious being the cultural context in which they were created. Both portraits were completed
in France, by Elisabeth Vigee-LeBrun in the 1780’s. This time period signified the height of French disdain towards Marie
Antoinette, as it was just before the French revolution. This cultural context heavily influenced the way in which Marie
Antoinette was portrayed in her portraits.

Élisabeth Louise Vigée-LeBrun, Portrait of Marie Antoinette with
Her Children, 1787, Palace of Versailles, Versailles, France.
The way in which Antoinette was depicted in the pieces and the
reasoning behind them falls under its function and purpose. These portraits
were used to sway the public's opinion of Marie Antoinette and to show her
in a more positive light. This was done by making her appear more feminine.
In Portrait of Marie Antoinette with Her Children, this is done by posing her
with children in an attempt to make her seem more maternal, and to convey
to the French people that she could be trusted as the “mother of France”. In
Marie Antoinette in a Chemise Dress, this effect is used by posing Antoinette
with flowers, and in a lacy, flowy dress, with bows on her large-brimmed hat
and on the back of her dress.

Along with parallels in cultural context and the function and purpose of the two paintings, they share many
comparable formal qualities as well. One similarity is the use of shadows and highlights to create depth in the subjects as well
as in the background. The pieces showcase a dramatic lighting that highlights the face of Marie Antoinette above anything else,
and a background that draws minimal attention. This immediately draws the viewer's eyes directly towards the French
monarch. Both pieces use many different textures, especially the fabrics displayed. This gives the pieces variety and makes
them more interesting to view. Antoinette lies in the center of both pieces, creating symmetry and balance. Another similarity
Élisabeth Louise Vigée-LeBrun, Marie Antoinette in a Chemise
of the portraits is their warmer color palette. Dress, 1783, Palace of Versailles, Versailles, France.
 Differences between Portrait of Tianqi Emperor Zhu Youjiao and Portrait of Marie
Antoinette with Her Children
The cultural context that the work of Le-Brun was made in is extremely different from that of the court art of the Ming
Dynasty. Portrait of Marie Antoinette with Her Children was made in Europe in the 18th century- during the Enlightenment, and
in the midst of a shift in art movements, from the Rococo to Neoclassical style of art. Both of these styles could be identified by
their smooth and intricate blending and brushwork. The figures in these works were 3- dimensional, with realistic shadows that
created dimension. The details in Le-Bruns work were in small clothing folds, in tiny hairs on feathers, in slight
variations in skin tone, in lighting, etc. Portrait of Tianqi Emperor Zhu Youjiao
was created by an unnamed court artist (thus making this piece an artifact) for an
emperor the Ming Dynasty in 17th century China.
The art of 18th century France and 17th century China, even at first
glance, are incredible different. The style of art in China at the time was incredibly
flat. Unlike the work by LeBrun, there is no depth created by shadows. Instead, the
subject of the portrait faces the viewer directly, and there is no apparent lighting of
the piece. However, compared the the portraits by LeBrun, the work of this
anonymous artist was far more intricate and detailed because of its thousands of
Portrait of Tianqi Emperor Zhu Youjiao, By Court
small embellishments in almost every aspect of the painting. Artist of the Ming Dynasty — Taipei Palace Museum

Élisabeth Louise Vigée-LeBrun, Portrait of Marie Antoinette with
Her Children, 1787, Palace of Versailles, Versailles, France.
Another difference in Portrait of Marie Antoinette with Her Children and Portrait of Tianqi Emperor Zhu Youjiao
Is in their color palettes. While both pieces use warmer colors with cool undertones, the hues seen in LeBruns work are far
darker and deeper. There is more variation in the hues, with its high contrasts in the area between the skin and the
background. The Chinese artifact, however, has much less contrast between the hues. There are no extreme lights or extreme
darks in the piece, which gives it a more light, seamless tone to it. Portrait of Tianqi Emperor Zhu Youjiao exhibits
lower-contrast oranges, beiges, and occasionally greens and blues. The low saturation of the hues give the piece a more
weathered look, and begs the question of if these colors were intentional of the artist or if they are the result of fading over
time due to a lack of restoration technology.
 Differences between Portrait of Tianqi Emperor Zhu Youjiao and Marie Antoinette
in a Chemise Dress
Similar to the previous slide, Portrait of Tianqi Emperor Zhu Youjiao and Marie Antoinette in a Chemise Dress are
very clearly different culturally, even at first glance. The work of LeBrun showcases the artistic styles of Europe and of
France towards the end of the enlightenment and in the 18th century. This includes the transition from the rococo movement
to the neoclassical movement. LeBrun mostly worked in rococo art in this time. Both of the styles can be characterized by
their realism and attention to detail in human anatomy and figure, as well as shading that gives the piece depth with high a
contrast that makes the subject stands out. Portrait of Tianqi Emperor Zhu Youjiao, conversely, is a display of the common
art style of China at the time. While the standard art of China contained far less
detail compared to professional royalty portraits, the popular style was flat,
lacking shading and realistic depth.
While there are many similarities in the context of the two different
rulers, the culture that they existed in are completely unalike. These cultural
differences can be seen in almost every aspect of the pieces: in the embellished
robe of the emperor compared to the delicate chemise dress of Marie Antoinette,
the common inclusion of dragons to that of flowers, in the poses of the leaders,
and even in the style of furniture that can be seen in the background. They all tell
two very different stories of what power and wealth meant in China and in
Élisabeth Louise Vigée-LeBrun, Marie Antoinette in a Chemise
France. Dress, 1783, Palace of Versailles, Versailles, France.
Another difference in the two pieces is their use of contrast between the
background and the subject. In the Chinese artifact, the background of the piece as well as the mid and foreground all share
similar hues, which gives it a very dimension-less feel to it. Although the emperor is centered in the piece, the background
does not highlight the subject and it all blends together neatly. Despite this, the line work in the piece creates a very crisp
image with sharp lines. In the French painting, the subject stands in bright lighting, creating extremely light hues that
contrast with the almost completely black background. One last difference that can be seen in the works is in the amount of
Portrait of Tianqi Emperor Zhu Youjiao, By Court detail. The detail in LeBruns work comes from its depth and shading, while the details in the Chinese court art are seen in
Artist of the Ming Dynasty — Taipei Palace Museum
small dragon embellishments in the floor, the chair, the furniture, and clothing.
 Differences between Portrait of Marie Antoinette with Her Children
and Marie Antoinette in a Chemise Dress
Because these two pieces are by the same artist and in the same era, they share far few differences than the works
compared to Portrait of Emperor Zhu Youjiao. They were, however, produced for different purposes. Portrait of Marie
Antoinette with Her Children was produced by LeBrun just 2 years before the French revolution- when political turmoil in
France was reaching its peak and outrage against the wealthy monarchs of the country festered. To combat the negative
image of Marie Antoinette being a cold, cruel, and uncaring
aristocrat, she was commonly depicted with her children in order to appear
as the ‘Mother of France’. This portrait was an intentional effort to save the
image of the queen and used children as symbols of maternalism. This is not
the case in Marie Antoinette in a Chemise Dress. This piece could be
considered one of Marie Antoinette's regular portraits, produced because she
had the resources to frequently appear in the works of well-known artists. It
was made 6 years before the revolution. At this point, while anger in the
French lower-class had already existed, it was not as much of an issue as it
was later on.
The pieces also share some differences in their formal qualities.
Élisabeth Louise Vigée-LeBrun, Portrait of Marie Antoinette with They have different color palettes, with Portrait of Marie Antoinette with
Her Children, 1787, Palace of Versailles, Versailles, France. Her Children using larger quantities of deep reds and grey-greens, and
Marie Antoinette in a Chemise Dress using more greys, beiges, and oranges. The use of more neutral colors in Marie
Antoinette in a Chemise Dress creates a more personable, modest look, compared to the flashy deep reds of Portrait of
Marie Antoinette with Her Children, which exerts power and high class. Another difference is in the focus of the paintings.
While the children are more used as props than as subjects in Portrait of Marie Antoinette with Her Children, the piece
could be considered to have 4 subjects. The eyes of the viewer are moved around through the different people in the
painting, compared to Marie Antoinette in a Chemise Dress, in which the viewers eyes will be glued to the Queen and the Élisabeth Louise Vigée-LeBrun, Marie Antoinette in a Chemise
Dress, 1783, Palace of Versailles, Versailles, France.
bright details on her light fluffy dress on her clear skin, as well as the delicate flowers she holds.
 Similarities between Lebrun’s
work and personal work
Both Lebrun’s work and my own exhibit the artistic
styles of Europe and France in the 18th century. They attempt
to achieve the realism and depth of Rococo art. The lighting
of the pieces is slightly harsh, creating deeper shadows on the
right side of the face of the subject. Depth is created with the
implementation of folds and crevices in the fabrics displayed.
Similarly, a gentle brush technique is used on the skin in
order to create gradients. The blending of the skin tones in the
pieces creates the soft, almost glowing appearance of the
artworks. Small, intricate details like the lace in both dresses
and in the bows create a variety in texture in the pieces,
another aspect that helps to create the depth and realism of
the Rococo art style. Similarly, small dots of white are used to
create highlights that add the appearance of gloss to the piece.
Élisabeth Louise Vigée-LeBrun, Marie Antoinette in a Chemise Ava Antonie, Madame Antonie, 2022, Wisconsin, United States.
Both pieces avoid the use of pure black.
Dress, 1783, Palace of Versailles, Versailles, France.

Compositionally, the pieces are very similar as well. The dark, empty,
solid-colored background of both pieces draws the viewer's eyes directly to the
subject of the painting. The brightest part of the paintings are the faces of the
subjects. The hues used get darker as you move closer to the bottom, creating a
triangular composition. This places the most emphasis on the face, and then draws
the viewer’s eyes down the body to examine the finer details of the artwork. In
both pianings, the subject lies directly in the center of the piece, making them the
most important aspect of the art. This is what conveys the message of royalty and
cultural importance of the subject in the artworks.
Another way that these pieces create realism is through their application
of less vibrant hues compared to brighter, more unrealistic hues that would
typically not be found in nature. The dress of Marie Antoinette in Lebrun’s work
is a light grey, while the dress in my own work is a cool grey hue. Both pieces use
a variety of different colors and shades to avoid a completely monotone
appearance.

Portrait of Tianqi Emperor Zhu Youjiao, By Court
Artist of the Ming Dynasty — Taipei Palace Museum
Similarities between Court Artist
of the Ming Dynasty’s work to
personal work
While these pieces are very culturally different, they both
have the same reason for creation, which is to paint someone in a
royal and powerful light. This is done through symbols of wealth
and status. In Portrait of Tianqi Emperor Zhu Youjiao, those
symbols are in the small details, such as intricate carvings and the
appearance of dragons. In my personal work, the symbols of
wealth are conveyed through material, including gold. Both of the
pieces use the gold as a symbol of wealth and power.
Additionally, the gold is applied at the rim of the throne. Both
subjects of the artwords are conveyed as powerful through their
position in the throne, as well as through gold. Another thing these
pieces have in common is the almost emotionless expression seen Ava Antonie, Madame Antonie, 2022, Wisconsin, United States.
on the face of the subject.

Both Portrait of Tianqi Emperor Zhu Youjiao and my personal work
have a warmer color palette. Portrait of Tianqi Emperor Zhu Youjiao uses
mostly reds, oranges, yellows, and beige colors in its construction. While my
own personal work has gold, beige in brown, the entirety of the piece uses
warm undertones, even in the blues and greens. Both pieces avoid incredibly
vibrant colors and stick to less saturated versions of the hues. This adds a touch
of realism to both pieces.
Compositionally, the pieces have a lot in common. In both Portrait of
Tianqi Emperor Zhu Youjiao and my personal work, the subject lies in the very
center of the work, creating a triangular composition. The eyes are immediately
drawn to the face of the subject, moving down the body and then to the details
of the background.
 Differences between Lebrun’s work and personal work
LeBrun’s work and my own are very different
culturally. Lebrun was an authentic Rococo style
portrait artist who completed work for real royalty. My
personal work is only an imitation of that style, and, as
my own work is a self portrait, I am not actually
royalty. LeBrun’s work is by far more advanced in
attempting to create realism.
Lebruns work uses much softer line and
brushwork in order to create a hazy, almost dreamlike
feeling to her pieces. My own artwork uses much
harsher shapes and lines, especially along the body of
the subject. This use of very harsh lines in my piece,
while not intentional, takes away from the desired
effects of realism.

The pieces also differ in their composition.

Élisabeth Louise Vigée-LeBrun, Portrait of Marie Antoinette with
Her Children, 1787, Palace of Versailles, Versailles, France.
The artists are quite different in
their usage of color. While Portrait of
Marie Antoinette with Her Children
includes many shades of deep, vibrant red,
the piece has an overall cool undertone.
My own work tends to have a warmer
undertone, as well as use of more warm
hues in the skin, gold, and clothing.
Portrait of Marie Antoinette with Her Children features
multiple subjects, including Marie Antoinette, and 3 of her
young children. The eyes are immediately drawn to the
face of the Queen, however, the inclusion of the children
draw the eyes of the viewer next, rather than the body of
the subject. The background of LeBruns work is far more
detailed. In Portrait of Marie Antoinette with Her
Children, the background of the piece is intricate, with the
inclusion of small details on the engraving of the dresser,
as well as a patterned carpet. In my own work, the most
detail is in the lace of the dress and on the back of the
chaise. The background of my work is solid black, in
order to draw attention to the subject and the subject
alone. LeBrun uses a much wider variety of textures in
her work, including different types of fabric, feathers, and
wood.
Ava Antonie, Madame Antonie, 2022, Wisconsin, United States.
Differences between Court Artist of the Ming Dynasty’s
work to personal work
One difference between the Ming dynasty
court art and my personal work is the variation of
hues. My personal work utilizes deep greens, blues,
and browns in order to create dimension and
contrast between the subject and the background.
The court art uses similar shades of oranges and
beiges for every part of the piece.
The pieces are different culturally. My
personal work is an imitation of 18th century French
artist LeBrun, while Portrait of Tianqi Emperor Zhu
Youjiao is a piece of authentic 17th century Chinese
court art. They contain several different symbols of
wealth and power. For example, the use of many
dragon symbols on everything.

Stylistically, my piece attempts to recreate the realism

of Rococo style paintings. I use blended gradients in the paint
in order to create shadows and highlights, while the court art
avoids these techniques, resulting in a more flat appearance.
The flatness of the piece is combined with many small details,
overall making it much more intricate. The lighting in my work
is centered on the face of the subject, making it the most Ava Antonie, Madame Antonie, 2022, Wisconsin, United States.

important and prominent thing in the piece. While Emperor

Portrait of Tianqi Emperor Zhu Youjiao, By Court
Artist of the Ming Dynasty — Taipei Palace Museum
Zhu lies in the center of the piece, there is little contrast
between the subject and background that brings any emphasis
to him. Compositionally, the pieces are different in that my
own work features a waist-up shot of the subject, while
Portrait of Tianqi Emperor Zhu Youjiao features a full body
portrait of the emperor in his throne. In the Chinese court art,
the eyes are first drawn to the face of the emperor and down
the body, but then are drawn to all the small details in the
piece, such as the many engravings or flowers.
In my personal work, I attempt to create the
illusion of texture in the silk, hair, skin, and gold, using
different techniques of highlighting and shading and
brushwork. Portrait of Tianqi Emperor Zhu Youjiao
instead creates a form of texture using small details
through line. This technique creates texture, however,
because of the lack of any form of shading or highlight
in the piece, the texture throughout the entire piece is
consistent and static.

Portrait of Tianqi Emperor Zhu
Youjiao, By Court Artist of the
Ming Dynasty — Taipei Palace
Museum
Élisabeth Louise Vigée-LeBrun,
Portrait of Marie Antoinette with
Her Children, 1787, Palace of
Versailles, Versailles, France.
Summary / Connections
Created in 17th century China
Self portrait- piece was created by the
Lack of highlights and shadows create Gold used as a subject shown
incredibly flat appearance Symbol of wealth
Usage of dragons in every aspect of the piece Created in the United States in the
(furniture, clothing, floor) as a symbol of Artist only displays one subject 21st century
power and respect
Use of harsh line and shapes
Attempt to replicate the
Very detailed background brings more Rococo art style of 18th century France
attention to the surroundings of the Ava
subject than to the subject Limited application of multiple textures Antonie,
Use of less vibrant colors in place of less
due to the lack of any background or Madame
himself intense hues to create a sense of realism Antonie,
objects for the subject to interact
Subject of the painting angled 2022,
Attempt at portraying someone in a with
directly at the viewer Wisconsin,
Genuine royal positive / wealthy / powerful way
Creates depth and United
Incredibly symmetric propaganda Not an authentic States.
Triangular composition that puts realism through use
layout Created with the of dramatic highlights and portrayal of real
intention of making a royal subject at center of piece royalty
. shadows
figure more appealing to the
public Overall warmer color palette and
Portrait not created by subject undertones
…………….themselves
Created in 18th century France in the Rococo era of art
Intentional symbols of femininity and maternity such as flowers and
,,,children
Realistically portrays a multitude of different textures in Élisabeth Louise
. background and in objects that subject/ subjects interact Vigée-LeBrun, Marie
with Antoinette in a Chemise
Dress, 1783, Palace of
Versailles, Versailles, France.