In dieser Folge: In seinem Gemälde "Der Westhafen in Frankfurt am Main" - eine geometrische Komposition in lebhaften Farben, mit kantigen, holzschnittartigen Linien - stellt Ernst Ludwig Kirchner den Frankfurter Industriehafen dar, wie er sich ihm 1916 bietet: Der Betrieb arbeitet kriegsbedingt auf Sparflamme, die Party ist vorbei.
La Révolution gronde : il est urgent d’en finir avec les pamphlets orduriers qui visent "l’Autrichienne". Avec "Marie-Antoinette de Lorraine-Habsbourg, reine de France et ses enfants", Élisabeth Louise Vigée Le Brun tente une opération de séduction. Mais il est bien trop tard pour regagner l’amour d’une opinion publique déchaînée.
As the French Revolution approached, Louise Elisabeth Vigee Le Brun painted the queen's portrait in an attempt to win back public opinion.
This documentary examines the historical and social context in which "Marie-Antoinette de Lorraine-Habsbourg, Queen of France and Her Children" was painted. It analyzes the work's composition and symbolism in terms of motherhood and political legitimacy, and attempts to counter the queen's reputation for debauchery. It also includes a discussion of Le Brun's background, Italian and Flemish influences, and her unique position as court portraitist in a male dominated field. Finally, we learn how the work was received by the Paris Salon and by the French people.
