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| 1886-90 |
Young woman putting on her skates by Morisot
Tuesday with Berthe Morisot!
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| private collection, c. 1888 |
In the garden by Manet
Monday with Edouard Manet!
Although not as well known as so many of Manet's other works, this one is, I think, a perfect example of what I find so striking about Manet's style of impressionism: it captures a tiny moment in the lives of people now long gone, but very much alive when it was captured; in that regard it's akin to photography, I suppose.
But so very important is how Manet orients his subjects.
The man is almost off the canvas and yet seems to be contemplating something; perhaps the woman, perhaps his life perhaps, well, who knows? The woman is, however, like so many of Manet's great pieces, staring right at if not through the viewer, the passerby, the person now standing in a humidity-controlled, dimly lit room surrounded by security cameras with the soft hum of voices chit-chatting about other works scattered around the room. She's very much alive and in the moment, her moment and ours, always alive. Amazing.
Although not as well known as so many of Manet's other works, this one is, I think, a perfect example of what I find so striking about Manet's style of impressionism: it captures a tiny moment in the lives of people now long gone, but very much alive when it was captured; in that regard it's akin to photography, I suppose.
But so very important is how Manet orients his subjects.
The man is almost off the canvas and yet seems to be contemplating something; perhaps the woman, perhaps his life perhaps, well, who knows? The woman is, however, like so many of Manet's great pieces, staring right at if not through the viewer, the passerby, the person now standing in a humidity-controlled, dimly lit room surrounded by security cameras with the soft hum of voices chit-chatting about other works scattered around the room. She's very much alive and in the moment, her moment and ours, always alive. Amazing.
But so very important is how Manet orients his subjects.
The man is almost off the canvas and yet seems to be contemplating something; perhaps the woman, perhaps his life perhaps, well, who knows? The woman is, however, like so many of Manet's great pieces, staring right at if not through the viewer, the passerby, the person now standing in a humidity-controlled, dimly lit room surrounded by security cameras with the soft hum of voices chit-chatting about other works scattered around the room. She's very much alive and in the moment, her moment and ours, always alive. Amazing.
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| 1870 |
But so very important is how Manet orients his subjects.
The man is almost off the canvas and yet seems to be contemplating something; perhaps the woman, perhaps his life perhaps, well, who knows? The woman is, however, like so many of Manet's great pieces, staring right at if not through the viewer, the passerby, the person now standing in a humidity-controlled, dimly lit room surrounded by security cameras with the soft hum of voices chit-chatting about other works scattered around the room. She's very much alive and in the moment, her moment and ours, always alive. Amazing.
The Seine near its Estuary, Honfleur by Monet
Art surprise Friday!
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| c. 1868, Museum of the Rhode Island School of Design, Providence, RI, USA |
Woman with a fan by Morisot
Tuesday with Berthe Morisot!
Also known as "head of a girl."
Also known as "head of a girl."
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| private collection, 1876 |
Two views of ballet rehearsals by Degas
Wednesday with Edgar Degas!
Three paintings featuring ballet master Jules Perrot, two are variations of the same scene. In all three Perrot is resting his hands on his large baton which he used to beat time for the dancers.
First is the "ballet class" started in 1871 but not finished until 1874; one in Paris and a somewhat different version made by Degas now in New York. These are followed by the "ballet rehearsal."
Three paintings featuring ballet master Jules Perrot, two are variations of the same scene. In all three Perrot is resting his hands on his large baton which he used to beat time for the dancers.
First is the "ballet class" started in 1871 but not finished until 1874; one in Paris and a somewhat different version made by Degas now in New York. These are followed by the "ballet rehearsal."
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| Musée d'Orsay, Paris, France. 1871-74 |
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| Metropolitan Museum of New York, New York City, NY, USA, 18774 |
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| Nelson-Atkins Museum of Art, Kansas City, MO, USA, 1875 |
Portrait of the artist's mother and sister by Morisot
Tuesday with Berthe Morisot!
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| National Gallery of Art, Washington, DC, USA, 1869-70 |
Portrait of Emilie Ambre in the role of Carmen by Manet
Monday with Edouard Manet!
Emilie/Émilie Ambre (1849-1898) was a French opera singer who was one of the leading sopranos in Europe and North America.
Emilie/Émilie Ambre (1849-1898) was a French opera singer who was one of the leading sopranos in Europe and North America.
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| Philadelphia Museum of Art, Philadelphia, PA, USA, circa 1879-80 |
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| photo of Emilie by Ferdinand Mulnier, c. 1878 |
The Cradle by Morisot
Tuesday with Berthe Morisot!
Morisot painted her sister Edma numerous times, and here she has captured Edma as a new mother watching over her daughter (Blanche). One of Berthe's most enduring and endearing paintings.
Morisot painted her sister Edma numerous times, and here she has captured Edma as a new mother watching over her daughter (Blanche). One of Berthe's most enduring and endearing paintings.
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| Musée d'Orsay, Paris, France, 1872 |
Masked ball at the Opera by Manet
Monday with Edouard Manet!
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| National Gallery of Art, Washington, DC, USA, 1873 |
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