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There are additional references more personal to Marie Antoinette, such as the Hall of Mirrors of Versailles behind her, or the dress she is wearing, which is reminiscent of one Marie Leszczyńska wore in a portrait. Its overall composition is inspired by Renaissance depictions of the Holy Family, as advised by Jacques-Louis David, a notable contemporary painter. Her elder son, Louis-Joseph, the Dauphin at the time, is near the empty cradle, intended for her younger daughter, Sophie-Béatrice, who died before the painting's completion. Her younger son, the future Louis XVII, is sitting on her lap and her daughter, Marie-Thérèse, is leaning on her arm. The painting shows Marie Antoinette wearing a red velvet gown with sable lining. During the French Revolution, it was stored in the national collections since the reign of Louis Philippe I, it has been in the care of the museum of Versailles. Īfter the Salon, until June 1789, it was exhibited in the Mars Room in the Palace of Versailles.
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Nevertheless, the administration insisted that she do so, and the painting was exhibited, with the reaction being mixed. However, due to Marie Antoinette’s unpopularity at the time and fears that the painting would be damaged, Vigée Le Brun refused to send it. Its first public showing was intended to be at the Salon of August 1787. To further engage the public’s sympathy, Vigée Le Brun left an empty cradle in the place of the queen’s youngest child, Sophie-Béatrice, who died shortly before the painting was completed. The focus was to be on Marie Antoinette as a queen and, more importantly, a mother as such, the painting shows her surrounded by her children and wearing little jewellery. In an effort to improve public perception of the queen, later that year, Élisabeth Vigée Le Brun was commissioned by Louis XVI to paint an official portrait depicting Marie Antoinette sympathetically. Despite her lack of personal involvement in the affair, public opinion turned against her. In July 1785, Marie Antoinette’s reputation was tarnished by the Affair of the Diamond Necklace. Exhibition at the Salon of 1787 by Pietro Antonio Martini