End Notes
Forgotten Women Artists #3: Marie-Gabrielle Capet: Stepping out from the Shadows
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[1] See article at http://www.thearttribune.com/The-Houdon-Portrait-by-Marie.html
[2] See Exhibition Catalogue for “Marie-Gabrielle Capet: A Virtuoso of the Miniature”, Musee de Caen, Snoeck Heule, 2014 (in French)
[3] Neil Jeffares, “Dictionary of Pastellists before 1800” online edn, entry on Marie-Gabrielle Capet
[4] Vivian P Cameron, entry on Marie-Gabrielle Capet, in Delia Gaze (ed), Dictionary of Women Artists, Vol 1, page 345: see also http://siefar.org/dictionnaire/en/Marie-Gabrielle_Capet
[5] Laura Auricchio, “Self -promotion in Adélaïde Labile-Guiard’s 1785 Self-portrait with Two Students” http://www.redorbit.com/news/health/893350/selfpromotion_in_adlade_labilleguiards_1785_selfportrait_with_two_students/
[6] Auricchio, op cit
[7] Admission was in theory open to women but the proportion of female members was typically tiny, averaging about 3%
[8] Auricchio, op cit; Charlotte Foucher Zarmanian, Review of “Marie-Gabrielle Capet (1761-1818), A Virtuoso of the Miniature”, Exh Cat, Snoeck Heule, 2014
[9] Auricchio, op cit; Heather Belnap Jensen, “Picturing Paternity: the artist and father-daughter portraiture in post-revolutionary France”, in Temma Balducci & Ors (eds), Interior Portraiture and Masculine Identity in France 1789-1914
[10] Jensen, op cit; Auricchio, op cit
[11] Jensen, op cit
[12] Cameron, op cit; Jensen, op cit
[13] Ann Sutherland Harris and Linda Nochlin, Women Artists 1550-1950. Los Angeles Museum of Art, Alfred Knopf, New York 1976.
© Philip McCouat 2018. First published March 2018
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[2] See Exhibition Catalogue for “Marie-Gabrielle Capet: A Virtuoso of the Miniature”, Musee de Caen, Snoeck Heule, 2014 (in French)
[3] Neil Jeffares, “Dictionary of Pastellists before 1800” online edn, entry on Marie-Gabrielle Capet
[4] Vivian P Cameron, entry on Marie-Gabrielle Capet, in Delia Gaze (ed), Dictionary of Women Artists, Vol 1, page 345: see also http://siefar.org/dictionnaire/en/Marie-Gabrielle_Capet
[5] Laura Auricchio, “Self -promotion in Adélaïde Labile-Guiard’s 1785 Self-portrait with Two Students” http://www.redorbit.com/news/health/893350/selfpromotion_in_adlade_labilleguiards_1785_selfportrait_with_two_students/
[6] Auricchio, op cit
[7] Admission was in theory open to women but the proportion of female members was typically tiny, averaging about 3%
[8] Auricchio, op cit; Charlotte Foucher Zarmanian, Review of “Marie-Gabrielle Capet (1761-1818), A Virtuoso of the Miniature”, Exh Cat, Snoeck Heule, 2014
[9] Auricchio, op cit; Heather Belnap Jensen, “Picturing Paternity: the artist and father-daughter portraiture in post-revolutionary France”, in Temma Balducci & Ors (eds), Interior Portraiture and Masculine Identity in France 1789-1914
[10] Jensen, op cit; Auricchio, op cit
[11] Jensen, op cit
[12] Cameron, op cit; Jensen, op cit
[13] Ann Sutherland Harris and Linda Nochlin, Women Artists 1550-1950. Los Angeles Museum of Art, Alfred Knopf, New York 1976.
© Philip McCouat 2018. First published March 2018
Return to HOME