Adélaïde Labille-Guiard – Self-portrait with Two Pupils, Marie Gabrielle Capet (1761–1818) and Marie Marguerite Carreaux de Rosemond (died 1788) Metropolitan Museum: part 1

The composition presents a seated woman, centrally positioned and engaged in the act of painting. She is depicted with two younger women flanking her on the right side of the canvas. The setting appears to be a studio or workshop, suggested by the presence of an easel holding a bust sculpture and various artistic tools scattered around.
The central figure’s posture conveys both authority and accessibility. Her gaze is directed outward, engaging the viewer directly, while she holds a palette and brush in her hand, actively demonstrating her craft. The elaborate dress – a pale blue silk robe à la française – indicates a position of social standing, yet its slightly rumpled appearance suggests an environment conducive to work rather than formal display.
The two flanking figures are positioned as attentive pupils. One leans closely towards the central figure, peering over her shoulder at the canvas, while the other stands slightly further back, observing with a more detached curiosity. Their attire is less ostentatious than that of the woman in the center, reinforcing their subordinate roles within this artistic hierarchy. The younger women’s expressions are carefully rendered; they convey a mixture of admiration and earnestness, contributing to an overall sense of mentorship and shared passion for art.
The lighting plays a crucial role in shaping the narrative. A soft, diffused light illuminates the central figure and her pupils, drawing attention to their faces and hands – the instruments of artistic creation. The background is rendered in darker tones, creating depth and emphasizing the figures’ prominence. The bust sculpture on the easel is partially illuminated, hinting at classical influences within this artists practice.
Subtly embedded within the scene are assertions about female agency and intellectual pursuit during a period when such endeavors were often discouraged or restricted for women. By portraying herself as an accomplished artist surrounded by pupils, the author challenges conventional gender roles and asserts her legitimacy within the artistic sphere. The inclusion of two young women suggests not only the transmission of knowledge but also the possibility of future generations of female artists. The painting can be interpreted as a visual argument for the value of female education and professional achievement in the arts.