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Self-Portrait (Kramskoi) Self-Portrait (Chassériau) Self-Portrait at 69 years; Self-Portrait in a Hat; Self-Portrait of the Artist with her Father; Self-Portrait with Palette (Manet) Self-Portrait with the Yellow Christ; The Spanish Singer; Portraits at the Stock Exchange; Symphony in White, No. 1: The White Girl; Symphony in White, No. 2: The ...
Furthermore, art historian Anne Higonnet argued in 2011 that the work is a self-portrait. [ 6 ] Villers exhibited Study of a young woman sitting on a window and two other works at the Salon of 1801, followed at the Salon of 1802 by a genre painting entitled A child in its cradle and A Study of a Woman from Nature . [ 7 ]
Woman Reading is a 19th-century (portrait painting) by Susan Macdowell Eakins. It is in the collection of the Metropolitan Museum of Art. [1] Woman Reading probably depicts the artist's sister Elizabeth Macdowell Kenton. It is one of Eakins' many portraits of her family members in interior settings. [1]
Gallery of Beauties The Nymphenburg Palace seen from its park. The Gallery of Beauties (German: Schönheitengalerie) is a collection of 38 portraits of the most beautiful women from the nobility and bourgeoisie of Munich, Germany, gathered by King Ludwig I of Bavaria in the south pavilion of his Nymphenburg Palace. [1]
Portrait d'une femme noire, 1800, Marie-Guillemine Benoist, Louvre; Dr. Susan Waller, "Marie-Guillemine Benoist, Portrait of Madeleine," in Smarthistory, September 26, 2018. James Smalls, "Slavery is a Woman: 'Race,' Gender, and Visuality in Marie Benoist's Portrait d'une négresse (1800)", Nineteenth-Century Art Worldwide 3, no. 1 (Spring 2004)
In the late 18th century and early 19th century, neoclassical artists continued the tradition of depicting subjects in the latest fashions, which for women by then, meant diaphanous gowns derived from ancient Greek and Roman clothing styles. The artists used directed light to define texture and the simple roundness of faces and limbs.
The portrait is characterized by the pale flesh tone of the subject contrasted against a dark-colored dress and background. The scandal resulting from the painting's controversial reception at the Paris Salon of 1884 amounted to a temporary setback to Sargent while in France, [ 2 ] though it may have helped him later establish a successful ...
In all of these works, Bracquemond's half-sister, Louise Quiveron, served as a model for her paintings, an arrangement typical of the limited options available to women artists in 19th-century France, whose freedom to study art was greatly curtailed. [10] Painting a figure in a garden was a common subject for the Impressionists.
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