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| The beach hat, detail, 1914, by Robert Cozad Henri |
Showing posts with label woman. Show all posts
Showing posts with label woman. Show all posts
Nervous anxiety or just puzzled?
You decide. She already knows.
The Milliner by Manet
Monday morning artwork
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| Palace of the Legion of Honor, San Francisco, CA, USA, 1881 |
Madame Jules Guillemet by Manet
Monday with Edouard Manet!
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State Hermitage, St Petersburg, Russia, c. 1880 the actual pastel is in the St. Louis City Art Museum, MO, USA, 1880 |
Nana and in front of the mirror by Manet
Monday with Edouard Manet!
The model was Henriette Hauser. A well-known grand cocotte at the time, Henriette was no stranger to posing as a courtesan since she was reportedly the mistress of the Prince of Orange.
One of the most novel characteristics of impressionism is that much of what you see is more or less "real"; it was actually happening or had just happened by the time it was painted. And the idea that contemporary life, rather than ancient worlds and past gods demanded to be captured in oil, pastel or watercolor was, in a word, revolutionary.
And compare her with Manet's "in front of the mirror" painted the year before:
The focal point is the blue corset and really little else, don't you think?
One of the most novel characteristics of impressionism is that much of what you see is more or less "real"; it was actually happening or had just happened by the time it was painted. And the idea that contemporary life, rather than ancient worlds and past gods demanded to be captured in oil, pastel or watercolor was, in a word, revolutionary.
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| Hamburger Kunsthalle, Hamburg, Germany, 1877 |
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| Guggenheim Museum, New York, NY, USA, 1876 |
Lola de Valence by Manet
Monday with Edouard Manet!
Lola Melea, known as "Lola from Valencia," was the principal dancer for the Mariano Camprubi dance troupe s from the Theater Royal in Madrid. When Manet saw her dance in Paris in 1862 he was taken by her sensual appeal and attractively good looks. She served as the model for a woman dancer dressed in traditional Spanish costume.
Lola Melea, known as "Lola from Valencia," was the principal dancer for the Mariano Camprubi dance troupe s from the Theater Royal in Madrid. When Manet saw her dance in Paris in 1862 he was taken by her sensual appeal and attractively good looks. She served as the model for a woman dancer dressed in traditional Spanish costume.
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| Musée d'Orsay, Paris, France, 1862 |
Portrait of Isabelle Lemonnier with a muff by Manet
Monday with Edouard Manet!
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| Dallas Museum of Fine Arts, Dallas, TX, USA, c. 1880 |
The bath by Morisot
Tuesday with Berthe Morisot!
Also known as "Girl arranging her hair."
Also known as "Girl arranging her hair."
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| Clark Art Institute, Williamstown, MA, USA, 1885-86 |
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.
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 |
Portrait of Madame Hubbard by Morisot
Tuesday with Berthe Morisot!
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| Ordrupgaard Collection, Denmark, 1874 |
Dancer tilting and dancer with bouquet by Degas
Wednesday with Edgar Degas!
Two fine examples of Degas's obsession with movement and the moment of action:
Two fine examples of Degas's obsession with movement and the moment of action:
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| circa 1883 |
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| circa 1877 |
At the cafe and concert by Manet
Monday with Edouard Manet!
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| Walters Art Gallery, Baltimore, MD, USA, 1879 |
In the conservatory by Manet
Monday with Edouard Manet!
The couple are actually Mr. and Madame Jules Guillemet, friends of Manet.
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| Alte Nationalgalerie, Staatliche Museen zu Berlin, 1879 |
The lady with fans by Manet
Monday with Edouard Manet!
Born Anne-Marie Gaillard (1843-1884), but better known as Nina de Callias, she was a French writer and poet. This work is also known as "portrait of Nina de Callias."
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| Musée d'Orsay, Paris, France, 1874 |
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