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Women of Algiers in their Apartment (French: Femmes d'Alger dans leur appartement) is the title of two oil on canvas paintings by the French Romantic painter Eugène Delacroix. Delacroix's first version of Women of Algiers was painted in Paris in 1834 and is located in the Louvre, Paris, France.
Portrait of Madeleine, also known as Portrait of a Black Woman (French: Portrait d'une femme noire or Portrait d'une negresse), is an oil-on-canvas painting by the French artist Marie-Guillemine Benoist, created in 1800.
Two Sisters or On the Terrace is an 1881 oil-on-canvas painting by French artist Pierre-Auguste Renoir in the collection of the Art Institute of Chicago.The dimensions of the painting are 100.5 cm × 81 cm. [1] The title Two Sisters (French: Les Deux Sœurs) was given to the painting by Renoir, and the title On the Terrace (French: Sur la terrasse) by its first owner Paul Durand-Ruel.
The Orphan Girl at the cemetery [1] (also known as Young Orphan Girl in the Cemetery; French: Jeune orpheline au cimetière) [2] (c. 1823 or 1824) is a painting by the French artist Eugène Delacroix.
In a vertical oval-shaped painting, the only character represented is a young girl dressed in a low-cut white dress with balloon sleeves. She is holding an armful of roses in one side of her apron, she also wears a ribbon with three flowers, and has a rose on her bodice. She carries the broken vessel, the object of the painting, on her right arm.
The latter half of the 18th century continued to see French preeminence in Europe, particularly through the arts and sciences, and the French language was the lingua franca of the European courts. The French academic system continued to produce artists, but some, like Jean-Honoré Fragonard and Jean-Baptiste-Siméon Chardin , explored new and ...
Millet's The Gleaners was preceded by a vertical painting of the image in 1854 and an etching in 1855. Millet unveiled The Gleaners at the Salon in 1857. It immediately drew negative criticism from the middle and upper classes, who viewed the topic with suspicion: one art critic, speaking for other Parisians, perceived in it an alarming intimation of "the scaffolds of 1793."
La Belle Strasbourgeoise is the most famous of the circa 1,500 portrait paintings by Largillière, and arguably the most iconic work in the Strasbourg museum. The identity of the depicted woman is unknown: she may be someone from the Strasbourg bourgeoisie, or a young Parisian in disguise (Strasbourg had become part of France only 22 years prior, in 1681), or the painter's own sister, Marie ...