DOCSLIB.ORG

Variations on a Theme: Berthe Morisot's Reinterpretation of The

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Variations on a Theme: Berthe Morisot's Reinterpretation of The “Variations on a Theme: Berthe Morisot‟s Reinterpretation of the „Woman at the Piano‟ Motif in Her Images of Girls at the Piano, 1888-1892” A thesis submitted to the faculty of the University of Cincinnati College of Design, Architecture, Art and Planning in partial fulfillment of the requirements for the degree of Master of Arts in Art History Committee Members: Dr. Theresa Leininger-Miller (chair) Dr. Morgan Thomas Dr. Julie Aronson May, 2011 Erin E. Ehresmann B.A., St. Cloud State University, May 2008 ABSTRACT In this study, I examine Le Piano (1888) and Lucie Léon au Piano (1892) by Berthe Morisot (1841-1895) and the significant ways in which these two paintings depart from the established tradition of female piano portraiture in nineteenth-century France. Charlotte Eyerman has explored the importance of the “woman at the piano” theme and its role in the construction of femininity but limits her study to the work of male artists. Morisot‟s piano portraits offer an unusual female perspective on a theme primarily created and perpetuated by male artists. My analysis elucidates the manner in which these works drew upon the tradition of the woman at the piano motif and the specific ways in which the artist subverted the passivity and superficiality that characterized male-produced versions of the theme. Le Piano evokes the tradition of female bourgeois education in nineteenth-century France and the importance of the piano in the development of femininity. However, Morisot enriched the commonplace act of playing the piano with an intellectualism not part of the superficial, socially-ordained reasons for playing in a unique manner that was largely absent from its representations in visual tradition. In Le Piano, by painting the confident figure of her daughter, Julie, nonchalantly leaning on the piano and looking out at the viewer as her cousin, Jeannie Gobillard, plays, Morisot communicated the fulfilling and enjoyable role music-making played in these girls‟ lives. In Lucie Léon au Piano, the visual emphasis of the tensed musculature of Léon‟s hands and arms invites associations with the conventions of male piano portraiture. While female pianists were generally prized for their charm and delicacy, male pianists, especially the male virtuoso, were conceived of as powerful, insightful, and active musicians. Morisot departed from the static and amateurish qualities common in the woman at the piano motif to create images whose subjects are physically engaged with the act of making music. In both Le Piano and Lucie Léon au ii Piano, Morisot reversed the conventional subject/beholder relationship. Not only do her pianists look directly out at viewers, thereby denying the right to look without being seen, but the concomitant flattening of pictorial space and insistence of the medium itself confronts the beholder. Drawing upon Michael Fried‟s theory of “facingness,” I posit that Morisot‟s painterly technique and self-aware subjects work in tandem to create entirely new and assertive images of woman at the piano scenes in the late nineteenth-century Impressionist milieu. Through Le Piano and Lucie Léon au Piano, Morisot articulated a fresh pictorial vocabulary of female pianism that emphasized agency and self-awareness over the traditional measures of femininity. iii iv ACKNOWLEDGMENTS Many thanks go to the art history faculty at the University of Cincinnati for sharing their enthusiasm and knowledge of the field with me over the past two years. I want to extend my gratitude especially to my advisor, Dr. Theresa Leininger-Miller, for guiding me through the process of thesis-writing and graduate school as a whole. She has been supportive of my ideas and ambitions since the beginning, and I am grateful to have worked with someone who is also interested in exploring the intersection of visual culture and music. Her insightful comments and unsurpassed editorial skills have helped foster my nascent ideas into a full-fledged thesis. Dr. Julie Aronson and Dr. Morgan Thomas also deserve recognition and thanks for donating their time and expertise as committee members. Their varied points of view and discerning criticism are invaluable resources to me. Thanks also to Dr. Lynne Ambrosini for kindly offering to serve as an alternate reader. Many thanks to my classmates for being such wonderful companions through the ups and downs of graduate school. It would have been much less fun without them. Cindy Damschroder has also been a great bastion of emotional support and practical advice for me, whether I was plodding through a never-ending stack of undergraduate art history essays or agonizing about qualifying exams. I am so grateful for all the opportunities and guidance she has given me in my two years as her teaching assistant. I also want to express my love and gratitude to my family for their unwavering support of all my endeavors, whether I dreamed of being a concert pianist or an art historian. I still love my grand piano, Mom and Dad. Megan, I appreciate you taking time away from your own graduate studies to commiserate with me about school. I will return the favor when you are writing your dissertation. v And finally, to Max I owe a great many thanks. You have been a voice of reason and encouragement when times got tough. I couldn‟t have done it without you. vi TABLE OF CONTENTS LIST OF ILLUSTRATIONS ………………………………………………………………………...viii INTRODUCTION ……………………………………………………………………………………1 CHAPTER ONE Poise, Grace, and Charm: The Cultivation of Femininity in Nineteenth-Century France and Morisot‟s Le Piano, 1888 ………………………………………………………………………...7 CHAPTER TWO Constructions of Pianism and Morisot‟s Lucie Léon au Piano, 1892 …………………………..24 CHAPTER THREE Morisot‟s Piano Girls in the Age of Impressionism …………………………………………….38 CONCLUSION ……………………………………………………………………………………..50 IMAGES …………………………………………………………………………………………..54 BIBLIOGRAPHY …………………………………………………………………………………..78 vii LIST OF ILLUSTRATIONS 1 7 Figure 1: Berthe Morisot, Le Piano, 1888, oil on canvas, 25 /2 x 31 /8 in., private collection, New York, New York 7 3 Figure 2: Jean-Auguste-Dominique Ingres, The Kaunitz Sisters, 1818, graphite, 11 /8 x 8 /4 in., Metropolitan Museum of Art, New York, New York Figure 3: Achille Devéria, Prelude, 1832, lithograph, in Journal des Femmes, dimensions unknown, Musée Carnavelet, Paris Figure 4: Victor Coindre, untitled illustration for sheet music “Maria, Romance,” n.d., lithograph, dimensions unknown, Bibliothèque Nationale, Paris Figure 5: Advertisement for “Musique en 30 lecons,” 1845, lithograph, dimensions unknown, Bibliothèque Nationale, Paris 3 1 Figure 6: Berthe Morisot, Two Girls at the Piano, n.d., charcoal, 17 /4 x 20 /2 in., location unknown 1 1 Figure 7: Berthe Morisot, Julie Écoutant, 1888, oil on canvas, 24 /2 x 18 /2 in., private collection, New York, New York 5 Figure 8: Berthe Morisot, Julie Écoutant, 1888, oil on canvas, 21 /8 x 15 in., private collection, Paris 5 7 Figure 9: Berthe Morisot, Le Piano, 1888, pastel on paper, 25 /8 x 31 /8 in., private collection, Paris 1 3 Figure 10: Berthe Morisot, Le Mandoline, 1889, oil on canvas, 22 /2 x 21 /4 in., private collection Figure 11: Marguerite Gerard, La Leçon de Piano, 1780s, oil on canvas, 18 x 15 in., location unknown 1 1 Figure 12: Berthe Morisot, Lucie Léon au Piano, 1892, oil on canvas, 25 /2 x 31 /2 in., private collection, Michigan Figure 13: János Jankó, Franz Liszt at the Piano, in Borsszem Jankó (April 6, 1873), dimensions unknown viii 1 Figure 14: Gustave Caillebotte, Young Man Playing the Piano, 1876, oil on canvas, 31 /2 x 45 7 /10 in., private collection 5 Figure 15: Pierre-Auguste Renoir, Young Woman at the Piano, 1876, oil on canvas, 36 /8 x 29 1 /8 in., the Art Institute of Chicago, Chicago, Illinois Figure 16: Félix Vallotton, Le Piano, plate IV from the series Six Musical Instruments, 1896, 5 3 woodcut, 12 /8 x 9 /8 in., Museum of Modern Art, New York, New York 1 5 Figure 17: Berthe Morisot, Lucie Léon au Piano, 1892, oil on canvas, 25 /2 x 21 /8 in., location unknown 1 5 Figure 18: Berthe Morisot, Lucie Léon au Piano, 1892, oil on canvas, 25 /2 x 23 /8 in., private collection, Paris 3 1 Figure 19: James McNeill Whistler, At the Piano, 1858-1859, oil on canvas, 26 /8 x 36 /8 in., Taft Museum of Art, Cincinnati, Ohio 1 1 Figure 20: Paul Cézanne, Tannhaüser Overture, c. 1869, oil on canvas, 29 /2 x 36 /5 in., Hermitage Museum, Russia 9 4 Figure 21: Gustave Caillebotte, The Piano Lesson, 1881, oil on canvas, 31 /10 x 24 /5 in., Musée Marmottan, Paris 5 3 Figure 22: Pierre-Auguste Renoir, Girls at the Piano, 1892, oil on canvas, 45 /8 x 35 /8 in., Musée d‟Orsay, Paris 1 Figure 23: Pierre-Auguste Renoir, The Piano Lesson, c. 1889, oil on canvas, 22 x 18 /8 in., Joslyn Art Museum, Omaha, Nebraska Figure 24: Louise Abbéma, Au Piano, c. 1880, oil on canvas, dimensions unknown, location unknown ix INTRODUCTION Berthe Morisot (1841-1895), a founding member of the French Impressionists, is primarily known for her representations of women and children engaged in the private, everyday activities of Parisian bourgeois life. The focus of my study involves a very small subset of her work, images of girls at the piano, which never has been the sole subject of a concentrated analysis. The piano had a widespread presence in nineteenth-century consciousness and became a prevalent theme in literature and visual culture. Popular images, as well as high art, clearly defined the instrument‟s emblematic associations with femininity, a construction disseminated by the male majority of professional image makers. I have analyzed and discussed Morisot‟s piano paintings in terms of this broader nineteenth-century “woman at the piano” motif, drawing comparisons from a large body of piano portraits that highlight Morisot‟s unusual treatment of the theme from a female artistic viewpoint.
Load more

Recommended publications
  • The Painting of Modern Life: Paris in the Art of Maner and His Followers / T
    THE PAINTING of Copyright © 1984 by T. f. Clark All rights reserved under International and Pan-American Copyright Conventions. Published by Princeton University.Press, 41 William Street, Princeton, New Jersey 08540. Reprinted by arrangement with Alfred A. Knopf, Inc. MODERN LIFE Grateful acknowledgment is made to the following for permission to reprint previously pub- lished material: Excerpt from "Marie Lloyd" in Selected Essays by T. S. Eliot, copyright 1950 by Harcourt Brace [ovanovich, Inc.; renewed ]978 by Esme Valerie Eliot. Reprinted by permission PARISIN THE ART OF MANET AND HIS FOLLOWERS of the publisher. LIBRARY OF CONGRESS CATALOGING IN PUnUCATION DATA Revised Edition Clark, T. J. (Timothy J.) The painting of modern life: Paris in the art of Maner and his followers / T. 1- Clark. - Rev. ed. P: em. Includes bibliographica! references and index. T.1.CLARK ISBN 0-69!-00903-1 (pbk. : alk. paper) 1. Impressionism (Art)-France-Paris. 2. Painting, French- France-Paris. 3. Painting, Modern-19th century+=France-c-Paris. 4. Paris (Francej-c-In art. 5. Maner, Edouard, l832-1883--Inftuencc, I. Title. ND550.C55 1999 758'.9944361-dc21 99-29643 FIRST PRINTING OF THE REVISED EDITION, 1999 MANUFACTURED IN THE UNITED STATES OF AMERICA FIRST PRINCETON PAPERBACK PRINTING, 1986 THIRD PRINCETON PAPERBACK PRINTING, 1989 9 8 7 CHAPTER TWO OLYMPIA'S CHOICE "We shall define as prostitute only that woman who, publicly and without love, gives herself to the first comer for a pecuniary remuneration; to which formula we shall add: and has no other means of existence besides the temporary relations she entertains with a more or less large number of individuals." From which itfollows--and it seems to me the truth--that prostitute implies first venality and second absence of choice.
    [Show full text]
  • Annual Report 2018–2019 Artmuseum.Princeton.Edu
    Image Credits Kristina Giasi 3, 13–15, 20, 23–26, 28, 31–38, 40, 45, 48–50, 77–81, 83–86, 88, 90–95, 97, 99 Emile Askey Cover, 1, 2, 5–8, 39, 41, 42, 44, 60, 62, 63, 65–67, 72 Lauren Larsen 11, 16, 22 Alan Huo 17 Ans Narwaz 18, 19, 89 Intersection 21 Greg Heins 29 Jeffrey Evans4, 10, 43, 47, 51 (detail), 53–57, 59, 61, 69, 73, 75 Ralph Koch 52 Christopher Gardner 58 James Prinz Photography 76 Cara Bramson 82, 87 Laura Pedrick 96, 98 Bruce M. White 74 Martin Senn 71 2 Keith Haring, American, 1958–1990. Dog, 1983. Enamel paint on incised wood. The Schorr Family Collection / © The Keith Haring Foundation 4 Frank Stella, American, born 1936. Had Gadya: Front Cover, 1984. Hand-coloring and hand-cut collage with lithograph, linocut, and screenprint. Collection of Preston H. Haskell, Class of 1960 / © 2017 Frank Stella / Artists Rights Society (ARS), New York 12 Paul Wyse, Canadian, born United States, born 1970, after a photograph by Timothy Greenfield-Sanders, American, born 1952. Toni Morrison (aka Chloe Anthony Wofford), 2017. Oil on canvas. Princeton University / © Paul Wyse 43 Sally Mann, American, born 1951. Under Blueberry Hill, 1991. Gelatin silver print. Museum purchase, Philip F. Maritz, Class of 1983, Photography Acquisitions Fund 2016-46 / © Sally Mann, Courtesy of Gagosian Gallery © Helen Frankenthaler Foundation 9, 46, 68, 70 © Taiye Idahor 47 © Titus Kaphar 58 © The Estate of Diane Arbus LLC 59 © Jeff Whetstone 61 © Vesna Pavlovic´ 62 © David Hockney 64 © The Henry Moore Foundation / Artists Rights Society (ARS), New York 65 © Mary Lee Bendolph / Artist Rights Society (ARS), New York 67 © Susan Point 69 © 1973 Charles White Archive 71 © Zilia Sánchez 73 The paper is Opus 100 lb.
    [Show full text]
  • Impressionist Adventures
    impressionist adventures THE NORMANDY & PARIS REGION GUIDE 2020 IMPRESSIONIST ADVENTURES, INSPIRING MOMENTS! elcome to Normandy and Paris Region! It is in these regions and nowhere else that you can admire marvellous Impressionist paintings W while also enjoying the instantaneous emotions that inspired their artists. It was here that the art movement that revolutionised the history of art came into being and blossomed. Enamoured of nature and the advances in modern life, the Impressionists set up their easels in forests and gardens along the rivers Seine and Oise, on the Norman coasts, and in the heart of Paris’s districts where modernity was at its height. These settings and landscapes, which for the most part remain unspoilt, still bear the stamp of the greatest Impressionist artists, their precursors and their heirs: Daubigny, Boudin, Monet, Renoir, Degas, Morisot, Pissarro, Caillebotte, Sisley, Van Gogh, Luce and many others. Today these regions invite you on a series of Impressionist journeys on which to experience many joyous moments. Admire the changing sky and light as you gaze out to sea and recharge your batteries in the cool of a garden. Relive the artistic excitement of Paris and Montmartre and the authenticity of the period’s bohemian culture. Enjoy a certain Impressionist joie de vivre in company: a “déjeuner sur l’herbe” with family, or a glass of wine with friends on the banks of the Oise or at an open-air café on the Seine. Be moved by the beauty of the paintings that fill the museums and enter the private lives of the artists, exploring their gardens and homes-cum-studios.
    [Show full text]
  • Claude Monet : Seasons and Moments by William C
    Claude Monet : seasons and moments By William C. Seitz Author Museum of Modern Art (New York, N.Y.) Date 1960 Publisher The Museum of Modern Art in collaboration with the Los Angeles County Museum: Distributed by Doubleday & Co. Exhibition URL www.moma.org/calendar/exhibitions/2842 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art The Museum of Modern Art, New York Seasons and Moments 64 pages, 50 illustrations (9 in color) $ 3.50 ''Mliili ^ 1* " CLAUDE MONET: Seasons and Moments LIBRARY by William C. Seitz Museumof MotfwnArt ARCHIVE Claude Monet was the purest and most characteristic master of Impressionism. The fundamental principle of his art was a new, wholly perceptual observation of the most fleeting aspects of nature — of moving clouds and water, sun and shadow, rain and snow, mist and fog, dawn and sunset. Over a period of almost seventy years, from the late 1850s to his death in 1926, Monet must have pro duced close to 3,000 paintings, the vast majority of which were landscapes, seascapes, and river scenes. As his involvement with nature became more com plete, he turned from general representations of season and light to paint more specific, momentary, and transitory effects of weather and atmosphere. Late in the seventies he began to repeat his subjects at different seasons of the year or moments of the day, and in the nineties this became a regular procedure that resulted in his well-known "series " — Haystacks, Poplars, Cathedrals, Views of the Thames, Water ERRATA Lilies, etc.
    [Show full text]
  • The Maria at Honfleur Harbor by George-Pierre Seurat
    The Maria at Honfleur Harbor By George-Pierre Seurat Print Facts • Medium: Oil on canvas • Date: 1886 • Size: 20 ¾” X 25” • Location: National Gallery Prague • Period: • Style: Impressionism • Genre: Pointillism • Prounounced (ON-flue) • Seurat spent a summer painting six landscapes at Honfleur Harbor. They, for the most part, convey the idea of peaceful living that Seurat must have been experiencing during the summer vacation in which he created these pieces. In none of the paintings are waves crashing to shore nor is the wind forcefully blowing something. Another strange thing to note is that in none of the Honfleur paintings is there the easily recognizable shape of a human being. Maybe Seurat sees crowds of people as causes of stress and therefore never incorporates them into his Honfleur works. It is possible that this is the reason why there's an innate calmness to the six paintings. Artist Facts • Pronounced (sir-RAH) • Born December 2, 1859 • Seurat was born into a wealthy family in Paris, France. • Seurat died March 29, 1891 at the age of just 31. The cause of his death is unknown, but was possibly diphtheria. His one-year-old son died of the same disease two weeks later. • Seurat attended the École des Beaux-Arts in 1878 and 1879. • Chevreul, who developed the color wheel, taught Seurat that if you studied a color and then closed your eyes you would see the complementary color. This was due to retinal adjustment. He called this the halo effect. Thus, when Seurat painted he often used dots of complementary color.
    [Show full text]
  • Berthe Morisot and Mary Cassatt. Jessica Cresseveur University of Louisville
    University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 5-2016 The queer child and haut bourgeois domesticity : Berthe Morisot and Mary Cassatt. Jessica Cresseveur University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Part of the American Art and Architecture Commons, Modern Art and Architecture Commons, and the Theory and Criticism Commons Recommended Citation Cresseveur, Jessica, "The queer child and haut bourgeois domesticity : Berthe Morisot and Mary Cassatt." (2016). Electronic Theses and Dissertations. Paper 2409. https://doi.org/10.18297/etd/2409 This Doctoral Dissertation is brought to you for free and open access by ThinkIR: The nivU ersity of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The nivU ersity of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. THE QUEER CHILD AND HAUT BOURGEOIS DOMESTICITY: BERTHE MORISOT AND MARY CASSATT By Jessica Cresseveur B.A., University of Louisville, 2000 M.A., University College London, 2003 A Dissertation Submitted to the Faculty of the College of Arts and Sciences of the University of Louisville in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in Humanities Department of Comparative Humanities University
    [Show full text]
  • Open Posey Kyle 105Decisiveworks.Pdf
    THE PENNSYLVANIA STATE UNIVERSITY SCHREYER HONORS COLLEGE DEPARTMENT OF COMPARATIVE LITERATURE 105 DECISIVE WORKS OF OCCIDENTAL ART BY MICHEL BUTOR (TRANSLATION OF FINAL 50 PAGES) KYLE ANTHONY POSEY SPRING 2019 A thesis submitted in partial fulfillment of the requirements for baccalaureate degrees in Comparative Literature and Art History with honors in Comparative Literature Reviewed and approved* by the following: Dr. Eric Hayot Distinguished Professor of Comparative Literature and Asian Studies Honors Advisor/Thesis Supervisor Dr. Christopher Reed Distinguished Professor of English, Visual Culture, and Women’s, Gender, and Sexuality Studies Faculty Reader * Signatures are on file in the Schreyer Honors College. i ABSTRACT This honors thesis is a translation from French to English of the writer Michel Butor’s art historical survey titled 105 Oeuvres Décisives de la Peinture Occidentale. I have translated the final fifty pages, which roughly covers modern art, beginning with Post-Impressionism. The introduction covers the background to the book, problems of translation, and a note about word- image relationships and what this thesis represents to me. ii TABLE OF CONTENTS LIST OF FIGURES ..................................................................................................... iii ACKNOWLEDGEMENTS ......................................................................................... v Introduction .................................................................................................................. 1 Chapter
    [Show full text]
  • Rise of Modernism
    AP History of Art Unit Ten: RISE OF MODERNISM Prepared by: D. Darracott Plano West Senior High School 1 Unit TEN: Rise of Modernism STUDENT NOTES IMPRESSIONISM Edouard Manet. Luncheon on the Grass, 1863, oil on canvas Edouard Manet shocking display of Realism rejection of academic principles development of the avant garde at the Salon des Refuses inclusion of a still life a “vulgar” nude for the bourgeois public Edouard Manet. Olympia, 1863, oil on canvas Victorine Meurent Manet’s ties to tradition attributes of a prostitute Emile Zola a servant with flowers strong, emphatic outlines Manet’s use of black Edouard Manet. Bar at the Folies Bergere, 1882, oil on canvas a barmaid named Suzon Gaston Latouche Folies Bergere love of illusion and reflections champagne and beer Gustave Caillebotte. A Rainy Day, 1877, oil on canvas Gustave Caillebotte great avenues of a modern Paris 2 Unit TEN: Rise of Modernism STUDENT NOTES informal and asymmetrical composition with cropped figures Edgar Degas. The Bellelli Family, 1858-60, oil on canvas Edgar Degas admiration for Ingres cold, austere atmosphere beheaded dog vertical line as a physical and psychological division Edgar Degas. Rehearsal in the Foyer of the Opera, 1872, oil on canvas Degas’ fascination with the ballet use of empty (negative) space informal poses along diagonal lines influence of Japanese woodblock prints strong verticals of the architecture and the dancing master chair in the foreground Edgar Degas. The Morning Bath, c. 1883, pastel on paper advantages of pastels voyeurism Mary Cassatt. The Bath, c. 1892, oil on canvas Mary Cassatt mother and child in flattened space genre scene lacking sentimentality 3 Unit TEN: Rise of Modernism STUDENT NOTES Claude Monet.
    [Show full text]
  • Realism Impressionism Post Impressionism Week Five Background/Context the École Des Beaux-Arts
    Realism Impressionism Post Impressionism week five Background/context The École des Beaux-Arts • The École des Beaux-Arts (est. 1648) was a government controlled art school originally meant to guarantee a pool of artists available to decorate the palaces of Louis XIV Artistic training at The École des Beaux-Arts • Students at the École des Beaux Arts were required to pass exams which proved they could imitate classical art. • An École education had three essential parts: learning to copy engravings of Classical art, drawing from casts of Classical statues and finally drawing from the nude model The Academy, Académie des Beaux-Arts • The École des Beaux-Arts was an adjunct to the French Académie des beaux-arts • The Academy held a virtual monopoly on artistic styles and tastes until the late 1800s • The Academy favored classical subjects painted in a highly polished classical style • Academic art was at its most influential phase during the periods of Neoclassicism and Romanticism • The Academy ranked subject matter in order of importance -History and classical subjects were the most important types of painting -Landscape was near the bottom -Still life and genre painting were unworthy subjects for art The Salons • The Salons were annual art shows sponsored by the Academy • If an artist was to have any success or recognition, it was essential achieve success in the Salons Realism What is Realism? Courbet rebelled against the strictures of the Academy, exhibiting in his own shows. Other groups of painters followed his example and began to rebel against the Academy as well. • Subjects attempt to make the ordinary into something beautiful • Subjects often include peasants and workers • Subjects attempt to show the undisguised truth of life • Realism deliberately violates the standards of the Academy.
    [Show full text]
  • Extrait Du Catalogue
    Extrait du catalogue Tarif Public 24/09/2021 www.revendeurs.rmngp.fr Document non contractuel Réunion des musées nationaux et du Grand Palais des Champs-Élysées 254-256, rue de Bercy - 75577 Paris cedex 12 - France Tel : +33 (0)1 40 13 48 00 - Fax : +33 (0)1 40 13 44 00 Etablissement public industriel et commercial - APE 9102Z - RCS Paris B692 041 585 - SIRET 69204158500583 - TVA FR11692041585 Sommaire Collections » Louvre, Gangzai Design ... 1 Collections » Louvre, Joconde Céladon ... 2 Collections » Louvre, Liberté guidant le peuple ... 3 Collections » Orsay, Le Parlement ... 6 Collections » Orsay, Les Nymphéas ... 7 Collections » Picasso, Dora Maar ... 7 Collections » Versailles, Dames de la Cour ... 8 Collections » Versailles, Gravure de mode ... 9 Collections » Versailles, Napoléon ... 9 Jeunesse » Arts Plastiques ... 11 Jeunesse » Planches de stickers ... 12 Jeunesse » Jeux & Puzzles ... 12 Jeunesse » Un moment de lecture... ... 12 Cadeaux » Alimentaire ... 15 Cadeaux » Plateaux & Dessous de verre ... 15 Textiles » Pochettes ... 15 Affiches » Affiche 50 x 70 cm ... 16 Affiches » Affiche hors format ... 17 Affiches » Image Luxe 30 x 40 cm ... 17 Affiches » Reproduction 24 x 30 cm à fond perdu ... 18 Carterie » Carte postale 10,5 x 15 cm ... 19 Carterie » Carte postale 10,5 x 15 cm sous Marie-Louise 20 x 25 cm ... 54 Carterie » Carte postale 10,5 x 15 cm sur papier de création arts graphiques (Inuit blanc glacier 400 g) ... 54 Carterie » Carte postale 13,5 x 13,5 cm ... 60 Carterie » Carte postale 13,5 x 13,5 cm sur papier de création arts graphiques (Inuit blanc glacier 400 g) ... 66 Carterie » Carte postale 14 x 20 cm sur papier de création arts graphiques (Inuit blanc glacier 400 g) ..
    [Show full text]
  • Manet and Modern Beauty
    Tyler E. Ostergaard exhibition review of Manet and Modern Beauty Nineteenth-Century Art Worldwide 19, no. 1 (Spring 2020) Citation: Tyler E. Ostergaard, exhibition review of “Manet and Modern Beauty ,” Nineteenth- Century Art Worldwide 19, no. 1 (Spring 2020), https://doi.org/10.29411/ncaw.2020.19.1.15. Published by: Association of Historians of Nineteenth-Century Art Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. License: This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License Creative Commons License. Ostergaard: Manet and Modern Beauty Nineteenth-Century Art Worldwide 19, no. 1 (Spring 2020) Manet and Modern Beauty Art Institute of Chicago, Chicago May 26, 2019–September 8, 2019 Getty Center, Los Angeles October 8, 2019–January 12, 2020 Catalogue: Scott Allan, Emily A. Beeny, and Gloria Groom, with Bridget Alsdorf, Carol Armstrong, Helen Burnham, Leah Lehmbeck, Devi Ormond, Catherine Schmidt Patterson, and Samuel Rodary, Manet and Modern Beauty: The Artist’s Last Years. Los Angeles: J. Paul Getty Museum, 2019. 400 pp.; 206 color and 97 b&w illus., 1 table; bibliography; index. $65 (hardcover) ISBN: 978–1606066041 How are we to classify Manet’s last paintings? This question drives the new exhibition Manet and Modern Beauty, which ran at the Art Institute of Chicago from May 26, 2019 to September 8, 2019, and then at the Getty Center, Los Angeles from October 8, 2019 to January 12, 2020. Organized by curators Scott Allan, Emily A. Beeny, and Gloria Groom, Manet and Modern Beauty focuses on Manet’s production—hardly just paintings—from the mid-1870s until his death on April 30, 1883, at age fifty-one.
    [Show full text]
  • Impressionist Still Life 2001
    Impressionist Still Life 2001- 2002 Finding Aid The Phillips Collection Library and Archives 1600 21st Street NW Washington D.C. 20009 www.phillipscollection.org CURATORIAL RECORDS IN THE PHILLIPS COLLECTION ARCHIVES INTRODUCTORY INFORMATION Collection Title: Impressionist Still Life; exhibition records Author/Creator: The Phillips Collection Curatorial Department. Eliza E. Rathbone, Chief Curator Size: 8 linear feet; 19 document boxes Bulk Dates: 1950-2001 Inclusive Dates: 1888-2002 (portions are photocopies) Repository: The Phillips Collection Archives INFORMATION FOR USERS OF THE COLLECTION Restrictions: The collection contains restricted materials. Please contact Karen Schneider, Librarian, with any questions regarding access. Handling Requirements: Preferred Citation: The Phillips Collection Archives, Washington, D.C. Publication and Reproduction Rights: See Karen Schneider, Librarian, for further information and to obtain required forms. ABSTRACT Impressionist Still Life (2001 - 2002) exhibition records contain materials created and collected by the Curatorial Department, The Phillips Collection, during the course of organizing the exhibition. Included are research, catalogue, and exhibition planning files. HISTORICAL NOTE In May 1992, the Trustees of The Phillips Collection named noted curator and art historian Charles S. Moffett to the directorship of the museum. Moffett, a specialist in the field of painting of late-nineteenth-century France, was directly involved with the presentation of a series of exhibitions during his tenure as director (1992-98). Impressionist Still Life (2001-2002) became the third in an extraordinary series of Impressionist exhibitions organized by Moffett at The Phillips Collection, originating with Impressionists on the Seine: A Celebration of Renoir‟s Luncheon of the Boating Party in 1996, followed by the nationally touring Impressionists in Winter: Effets de Neige, on view at the Phillips in 1998.
    [Show full text]