Loretta Gaïtis scenography, with lighting by Léopold Mauger, split the space into four main rooms exploring the major themes of the exhibition: - The right to be painters: the anti-academism and the feminisation of the fine arts , introduced the controversies surrounding the French Royal Academy of Fine Arts and the creation of post-Revolutionary salons where women were now accepted; - Learning: amateurs and professionals , was dedicated to the social circles and professional journeys of women artists in the context of increasing numbers of women taking private classes; - The Salon: an important and changing space , illustrated the advent and evolution of the Salon, a major cultural event, a space for exhibition and the recognition of living artists; - I am a Painter concluded the exhibition with a mise en abyme, by presenting a contemporary work.

The exhibition welcomed 45,854 visitors during the 68 days it was open to the public, which is a good result in a particularly difficult context and reduced numbers allowed in the exhibition rooms, with an occupancy rate of almost 100%. Peintres femmes, 1780 1830 attracted a relatively unfamiliar audience, keen to learn about the artists presented and receptive to the promotion of women artists. The level of visitor satisfaction remained high, with 78% of visitors stating that they were satisfied or very satisfied with the content of the exhibition.

AROUND THE EXHIBITION At the museum The cultural engagement offer was well received by the public, with a satisfaction rating that was above the average recorded during recent exhibitions. Although group guided tours had to be limited due to the public health context, the specific actions organised for a wide audience generated interest. For example, children over 7 years of age were able to accompany their visit with an activity booklet and receive a colouring book as a reward. Family tours were also offered for children aged 6 and over, while the youngest children (3 - 5 years old) enjoyed two storytelling tours. Finally, to provide adults with a fun way of exploring the exhibition, four dramatised tours were offered in the evening, during which an original text based on Vigée Le Brun's Memoirs, written and performed by the Compagnie du Chapeau de Paille, staged a fictional dialogue between a young journalist and Elisabeth Vigée Le Brun, returning to France after 1810. This text turned the exhibition experience into a stroll, during which the key themes of the exhibition were addressed in a lively and stimulating way.

The cultural programme was also constrained by the public health context and only two events could be presented: the traditional lecture by the curator to introduce the exhibition, and a musical event co-organised with the exhibition's sponsor, La Vallée Village, to mark the European Night of Museums. This remarkable evening event put on for visitors to the Musée du Luxembourg was dedicated to forgotten women composers. For the occasion, visitors were treated to a piano recital showcasing pieces by Mel Bonis, Lili Boulanger and Clara Schumann. The exhibition rooms were fully fitted with sound systems for the evening, with a live programme played, including pieces of music by Björk and Laurie Anderson. Performed by the professional ensemble Le Balcon, the music was a captivating surprise that proved extremely popular among visitors.

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