Self Portrait In A Straw Hat after 1782

Artist: Let’s wander a moment with "Self Portrait In A Straw Hat," painted sometime after 1782 by the absolutely luminous Élisabeth Louise Vigée Le Brun. Isn't she captivating? Art Historian: Indeed! What strikes me instantly is her gaze—direct yet soft. It's rare to see such relaxed self-assurance in portraiture of that era. And the palette, of course, signifies her profession, but it's placed so carefully… it almost feels symbolic. Artist: It feels utterly personal, doesn't it? You sense her joy in the act of creation, and perhaps a bit of rebellion, too. She's not posing in the rigid courtly manner, but in a style all’antica referencing the Old Masters that shows a light, confident spirit. Art Historian: Precisely. The straw hat, adorned with flowers and that jaunty feather, takes me back to pastoral imagery, innocence, and a closeness to nature, popular at the time. She seems to hint that, as an artist, she connects with universal and maybe even divine sources. Artist: Oh, I adore that idea! She was such a free spirit, escaping the French Revolution and painting across Europe. Think of the layers here - the Rococo softness, the shadow of impending social upheaval, and a woman fearlessly defining her identity, it gives me chills. Art Historian: And there's the underlying psychological aspect. Self-portraits, across centuries, function almost as externalized mirrors. This feels less like a presentation, and more like a revelation of Vigée Le Brun’s artistic soul—her truth made visible through colour and form. The confident brushstrokes, that's also an important component here. Artist: A visual diary entry of sorts. Thinking of her, braving it all in that flamboyant hat makes me want to grab my own palette. It's not just a portrait; it's an invitation to dream a little louder. Art Historian: Absolutely. "Self Portrait In A Straw Hat" invites a reflection not just on the artist's image, but on the enduring power of art to capture the ephemeral and touch the timeless.