Cornelis Decker is a little-known Dutch landscape painter who lived and worked in Haarlem, often painting in the manner of Jacob van Ruisdael – as he does in this picture. It shows the view of a hilly landscape with trees tossing in the wind and a stream running through rocky terrain. On the hillside there’s a thatched cottage with a dovecote perched on top and a little family gathered at the door. Further down the slope, a horseman splashing through the water pauses to speak to a man with a dog. A second man runs ahead encouraging his hounds onwards with a waving arm.
But Decker’s work lacks the precision and drama of van Ruisdael’s. There is little sense of movement, especially in the sky; the multiple shades of green that van Ruisdael achieves are missing; and the rocks in the background have no real substance.
","source":"Dokuwiki","type":"short text","value":"Cornelis Decker is a little-known Dutch landscape painter who lived and worked in Haarlem, often painting in the manner of Jacob van Ruisdael -- as he does in this picture. It shows the view of a hilly landscape with trees tossing in the wind and a stream running through rocky terrain. On the hillside there's a thatched cottage with a dovecote perched on top and a little family gathered at the door. Further down the slope, a horseman splashing through the water pauses to speak to a man with a dog. A second man runs ahead encouraging his hounds onwards with a waving arm.\n\nBut Decker's work lacks the precision and drama of van Ruisdael's. There is little sense of movement, especially in the sky; the multiple shades of green that van Ruisdael achieves are missing; and the rocks in the background have no real substance."},{"formatted":"Cornelis Decker is a little-known Dutch landscape painter who lived and worked in Haarlem, often painting in the manner of Jacob van Ruisdael – as he does in this picture. It shows the view of a hilly landscape with trees tossing in the wind and a stream running through rocky terrain. On the hillside is a thatched cottage with a dovecote perched on top and a little family gathered at the door. Further down the slope, a horseman splashing through the water pauses to speak to a man with a dog. A second man runs ahead encouraging his hounds onward with a waving arm.
But Decker’s work lacks the precision and drama of van Ruisdael’s. There is little sense of movement, especially in the sky; the multiple shades of green that Ruisdael achieves are missing; and the rocks in the background have no real substance. For a comparison, look at van Ruisdael’s A Waterfall in a Rocky Landscape or A Landscape with a Waterfall and a Castle on a Hill.
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For a comparison, look at van Ruisdael's A Waterfall in a Rocky Landscape or A Landscape with a Waterfall and a Castle on a Hill."}],"archive":[{"summary":{"title":"Letter from Dr Habick setting out the prices of his pictures for sale to the National Gallery (1336-1348)"},"@admin":{"uid":"03HC-0002-0000-0000","id":"R28502","source":"calm","uuid":"40ca7b59-f245-39fc-ba7a-5d1897c6d11f"},"@datatype":{"actual":"Component","base":"archive"},"@entity":"reference"},{"summary":{"title":"Letter from Dr Habick agreeing to Sir F.Burton's terms for the purchase of his pictures for the National Gallery (1336-1348)"},"@admin":{"uid":"0Z8N-0001-0000-0000","id":"R66826","source":"calm","uuid":"db5b8734-03ea-3d01-aa19-f90e9343e6d3"},"@datatype":{"actual":"Component","base":"archive"},"@entity":"reference"},{"summary":{"title":"Letter from Mr E. 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Here the wicked schoolmaster of Falerii tries to betray his city by offering a besieging general a group of children as hostages, but is refused. Although drawn from classical literature, the story has been reworked to make it appealing to contemporary Italians – everyone is in versions of fifteenth-century dress, and Falerii is shown as a walled medieval town rather than a classical city.
Although cassoni were made throughout Italy, they have been particularly associated with Tuscany and Florence. The artist, the so-called Master of Marradi, was a follower of Domenico Ghirlandaio and specialised in depicting historical scenes with figures in contemporary dress.
","source":"Dokuwiki","type":"short text","value":"This is a cassone, or wedding chest, a traditional part of the furnishing of a wealthy Renaissance home. Pairs of chests were often purchased by the groom as part of the 'counter-dowry' and the paintings on them often told moral tales suitable for prosperous families.\n\nHere the wicked schoolmaster of Falerii tries to betray his city by offering a besieging general a group of children as hostages, but is refused. Although drawn from classical literature, the story has been reworked to make it appealing to contemporary Italians -- everyone is in versions of fifteenth-century dress, and Falerii is shown as a walled medieval town rather than a classical city.\n\nAlthough cassoni were made throughout Italy, they have been particularly associated with Tuscany and Florence. The artist, the so-called Master of Marradi, was a follower of Domenico Ghirlandaio and specialised in depicting historical scenes with figures in contemporary dress."},{"formatted":"This is a cassone, or wedding chest, a traditional part of the furnishing of a wealthy Renaissance home. Pairs of chests were often purchased by the groom as part of the ‘counter-dowry’, and then placed in his chamber to store linen and fine clothes. They were expensive and prestigious items, and were handed down as heirlooms from generation to generation.
The scenes painted on cassoni were often drawn from classical literature or the Bible, and ancient legends and heroes were selected as appropriate for a wedding – as in Story of David Panels from a Pair of Cassoni (?) – or to illustrate particular virtues. Florentines were very interested in Roman history and the story chosen for this chest was taken from Livy’s History of Rome. It tells how a schoolmaster from Falerii tried to betray his city by offering a besieging Roman general a group of children as hostages. The general was shocked at such behaviour and refused to take them. Both children and master were returned to Falerii, where the citizens, impressed by the general’s honourable behaviour, promptly surrendered the city.
In the centre of the panel you can see the schoolmaster, in a red gown and hat, leading the children out of the city gates and through the hills to the Roman camp. On the right he kneels before the general, Camillus, and offers him the hostages; on the left, Camillus receives the key to the city from a group of elders. In the background, inside the walls of the city, the citizens beat the treacherous schoolmaster as punishment.
Although drawn from classical literature, the story has been reworked to make it appealing and meaningful to contemporary Italians – everyone is in versions of fifteenth-century dress, and Falerii is shown as a walled medieval town rather than a classical city. Given their original position near the floor, cassone pictures may well have been used as moral exempla for children, to give examples of honourable behaviour and to teach them what would be expected of them as adults.
Although cassoni were made throughout Italy, they have been particularly associated with Tuscany and Florence. The artist, the so-called Master of Marradi, was a close follower of Domenico Ghirlandaio and specialised in depicting historical scenes with figures in contemporary dress. There are examples of his cassoni panels in Harewood House, Yorkshire, the Metropolitan Museum of Art, New York and elsewhere.
This panel was originally very bright in colour: the silver and gold of the soldiers‘ armour and the horses’ harnesses (now discoloured) are decorated with punch marks, which would have shone and glimmered by candle light.
","source":"Dokuwiki","type":"long text","value":"This is a cassone, or wedding chest, a traditional part of the furnishing of a wealthy Renaissance home. Pairs of chests were often purchased by the groom as part of the 'counter-dowry', and then placed in his chamber to store linen and fine clothes. They were expensive and prestigious items, and were handed down as heirlooms from generation to generation.\n\nThe scenes painted on cassoni were often drawn from classical literature or the Bible, and ancient legends and heroes were selected as appropriate for a wedding -- as in Story of David Panels from a Pair of Cassoni (?) -- or to illustrate particular virtues. Florentines were very interested in Roman history and the story chosen for this chest was taken from Livy's History of Rome. It tells how a schoolmaster from Falerii tried to betray his city by offering a besieging Roman general a group of children as hostages. The general was shocked at such behaviour and refused to take them. Both children and master were returned to Falerii, where the citizens, impressed by the general's honourable behaviour, promptly surrendered the city.\n\nIn the centre of the panel you can see the schoolmaster, in a red gown and hat, leading the children out of the city gates and through the hills to the Roman camp. On the right he kneels before the general, Camillus, and offers him the hostages; on the left, Camillus receives the key to the city from a group of elders. In the background, inside the walls of the city, the citizens beat the treacherous schoolmaster as punishment.\n\nAlthough drawn from classical literature, the story has been reworked to make it appealing and meaningful to contemporary Italians -- everyone is in versions of fifteenth-century dress, and Falerii is shown as a walled medieval town rather than a classical city. Given their original position near the floor, cassone pictures may well have been used as moral exempla for children, to give examples of honourable behaviour and to teach them what would be expected of them as adults.\n\nAlthough cassoni were made throughout Italy, they have been particularly associated with Tuscany and Florence. The artist, the so-called Master of Marradi, was a close follower of Domenico Ghirlandaio and specialised in depicting historical scenes with figures in contemporary dress. There are examples of his cassoni panels in Harewood House, Yorkshire, the Metropolitan Museum of Art, New York and elsewhere.\n\nThis panel was originally very bright in colour: the silver and gold of the soldiers' armour and the horses' harnesses (now discoloured) are decorated with punch marks, which would have shone and glimmered by candle light."}],"accession":{"date":[{"from":"1923","to":"1923","value":"1923-01-01"}],"agent":[{"summary":{"title":"Misses Lindsay"},"@link":{"role":{"equivalents":[{"summary":{"title":"Donor"},"identifier":[{"id":"https://vocab.getty.edu/aat/300025240","type":"AAT","value":"donors"}],"@admin":{"uid":"0I40-000B-0000-0000","id":"concept-donor","uuid":"ca04e7b8-70ae-3e5b-95ed-8d0c7db4af4e"},"@datatype":{"actual":"equivalents","equivalents":[{"@admin":{"id":"concept-equivalents","uuid":"ff84d33a-1072-38d2-953b-5332535ba652","status":"unavailable"},"@entity":"reference"}],"base":"concept"},"@entity":"reference"}],"value":"Donor"},"public":true,"historical":false},"@admin":{"uid":"0QZX-0001-0000-0000","id":"agent-2801","uuid":"7ffa9748-4ce2-3258-a86d-1f4ab114a431"},"@datatype":{"actual":"Individual","equivalents":[{"@admin":{"id":"concept-individual","uuid":"1d4d592f-3d79-3e1f-97e1-bac2f41101be","status":"unavailable"},"@entity":"reference"}],"base":"agent"},"@entity":"reference"}],"@entity":"lifecycle"},"title":[{"type":"full title","value":"The Story of the Schoolmaster of Falerii"}],"bibliography":[{"summary":{"title":"National Gallery Catalogues: The Earlier Italian Schools"},"@link":{"details":{"illustrated":false,"page":"189-90","type":"Latest catalogue"}},"@admin":{"uid":"0E3Q-0008-0000-0000","id":"publication-27","uuid":"09713cae-6804-3e7f-a28b-8207f1b193f4"},"@datatype":{"actual":"Monograph","sub":["tms"],"equivalents":[{"@admin":{"id":"concept-monograph","uuid":"adda9f35-d664-3c9d-95f8-43e2737b77c2","status":"public"},"@entity":"reference"}],"base":"publication"},"@entity":"reference"},{"summary":{"title":"National Gallery Catalogues: The Earlier Italian Schools"},"@link":{"details":{"illustrated":false,"page":"147-8","type":"Previous catalogues"}},"@admin":{"uid":"0E04-0008-0000-0000","id":"publication-38","uuid":"a6040b29-7f4f-33da-b27e-9f9d737b45cf"},"@datatype":{"actual":"Monograph","sub":["tms"],"equivalents":[{"@admin":{"id":"concept-monograph","uuid":"adda9f35-d664-3c9d-95f8-43e2737b77c2","status":"public"},"@entity":"reference"}],"base":"publication"},"@entity":"reference"},{"summary":{"title":"The National Gallery: Complete Illustrated Catalogue"},"@link":{"details":{"figure":"p. 433","illustrated":true,"page":"433","type":"Key bibliography"}},"@admin":{"uid":"0E1Z-0008-0000-0000","id":"publication-34","uuid":"4025ce72-2c64-30b7-9f5b-dd46cdac09a4"},"@datatype":{"actual":"Monograph","sub":["tms"],"equivalents":[{"@admin":{"id":"concept-monograph","uuid":"adda9f35-d664-3c9d-95f8-43e2737b77c2","status":"public"},"@entity":"reference"}],"base":"publication"},"@entity":"reference"},{"summary":{"title":"Alla scoperta del Maestro di Marradi / Livietta Galeotti Pedulli ; contributi di Silvana Barzagli … [et al.]."},"@link":{"details":{"page":"Ill. 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He worked mainly on satirical illustrations for Paris journals, showing an incisive wit. Forain became a friend of the Impressionists and began to paint. He was mostly influenced by the realism of Manet and Degas.
At the 1886 Impressionist exhibition, Degas showed a series of pastel nudes of women washing or drying themselves. Almost all of the woman were portrayed from behind. Shortly afterwards, Forain painted a number of pictures on the same theme, including The Tub. Degas’s women are ungainly but easy in their own bodies in shabby rooms. In contrast, Forain’s bather seems daintier, rather more consciously posed, in a more elegant setting.
Perhaps this alone signifies the difference in vision between the two artist friends. One was a loner, who saw his world in its true light. The other enjoyed the high life of the belle époque (1890–1914) and wore his talents with an ironic smile.
","source":"Dokuwiki","type":"short text","value":"Jean-Louis Forain trained as a printmaker. He worked mainly on satirical illustrations for Paris journals, showing an incisive wit. Forain became a friend of the Impressionists and began to paint. He was mostly influenced by the realism of Manet and Degas.\n\nAt the 1886 Impressionist exhibition, Degas showed a series of pastel nudes of women washing or drying themselves. Almost all of the woman were portrayed from behind. Shortly afterwards, Forain painted a number of pictures on the same theme, including The Tub. Degas’s women are ungainly but easy in their own bodies in shabby rooms. In contrast, Forain’s bather seems daintier, rather more consciously posed, in a more elegant setting.\n\nPerhaps this alone signifies the difference in vision between the two artist friends. One was a loner, who saw his world in its true light. The other enjoyed the high life of the belle époque (1890–1914) and wore his talents with an ironic smile."},{"formatted":"Jean-Louis Forain trained as a printmaker. He worked mainly on satirical illustrations for Paris journals, showing an incisive wit. Forain became a friend of the Impressionists and began to paint. He was mostly influenced by the realism of Manet and Degas.
Degas said of Forain that ‘he painted with his hand in my pocket’. Since their friendship was close and lasting, he presumably meant this as friendly banter rather than an insult. At the 1886 Impressionist exhibition, Degas showed a series of pastel nudes of women washing or drying themselves. Almost all of them were portrayed from behind and many with red hair, as in the Gallery’s After the Bath, a Woman Drying Herself.
Shortly afterwards, Forain painted a number of pictures on the same theme, including The Tub. Degas’s women are ungainly but easy in their own bodies. In contrast, Forain’s bather seems daintier and more consciously posed.
She steps into the wide basin, reaching to take a bar of soap from a bowl on the shelf. She is slim, with swelling buttocks and the strong legs perhaps of a dancer. Forain shared Degas’s interest in drawing the ballet girls of the Opéra, one of whom may have been the model. The hand grasping the soap is rather a blur. The other is held out, light and delicate, in a position often held by dancers in a ballet pose. Her dark red hair is pulled back with a comb. Her ear catches the light, her cheek is in shadow and her tip-tilted nose is just visible.
Bowl, ewer and shelf are in matching powder blue with a tall mirror behind them. A glass scent bottle with a long neck and ornate stopper glints in the light. The young woman’s crisp, white robe is tossed over a spindly gilt chair. The hint of lace at cuff and neck suggests that it deserved to be treated less casually.
The other figure in the picture is far less detailed. She kneels, supporting herself on the rim of the basin. The jug in her other hand seems too heavy for her. Her long gown is a darker blue than the bathroom furniture but in harmony with it. Around her waist is a black sash and a brooch is at her neck. She is well dressed for a servant; she also has red hair.
Like Degas, Forain caught the moment, but the result is different, except perhaps for the hair. At that time, a woman portrayed with red hair was often presumed to be a sex worker. Dancers at the Opéra frequently augmented their meagre pay in this way. If so, Forain’s young woman appears to be more successful at her calling than Degas’s ‘honest, simple folk’ in their shabby rooms. Although this is the traditional interpretation of the scene, we do not know who the woman is or why she is bathing.
Maybe this alone signifies the difference of vision between the two artist friends. One was a loner, who saw his world in its true light. The other enjoyed the high life of the belle époque (1890–1914) and wore his talents with an ironic smile.
","source":"Dokuwiki","type":"long text","value":"Jean-Louis Forain trained as a printmaker. He worked mainly on satirical illustrations for Paris journals, showing an incisive wit. Forain became a friend of the Impressionists and began to paint. He was mostly influenced by the realism of Manet and Degas.\n\nDegas said of Forain that ‘he painted with his hand in my pocket’. Since their friendship was close and lasting, he presumably meant this as friendly banter rather than an insult. At the 1886 Impressionist exhibition, Degas showed a series of pastel nudes of women washing or drying themselves. Almost all of them were portrayed from behind and many with red hair, as in the Gallery’s After the Bath, a Woman Drying Herself.\n\nShortly afterwards, Forain painted a number of pictures on the same theme, including The Tub. Degas’s women are ungainly but easy in their own bodies. In contrast, Forain’s bather seems daintier and more consciously posed.\n\nShe steps into the wide basin, reaching to take a bar of soap from a bowl on the shelf. She is slim, with swelling buttocks and the strong legs perhaps of a dancer. Forain shared Degas’s interest in drawing the ballet girls of the Opéra, one of whom may have been the model. The hand grasping the soap is rather a blur. The other is held out, light and delicate, in a position often held by dancers in a ballet pose. Her dark red hair is pulled back with a comb. Her ear catches the light, her cheek is in shadow and her tip-tilted nose is just visible.\n\nBowl, ewer and shelf are in matching powder blue with a tall mirror behind them. A glass scent bottle with a long neck and ornate stopper glints in the light. The young woman’s crisp, white robe is tossed over a spindly gilt chair. The hint of lace at cuff and neck suggests that it deserved to be treated less casually.\n\nThe other figure in the picture is far less detailed. She kneels, supporting herself on the rim of the basin. The jug in her other hand seems too heavy for her. Her long gown is a darker blue than the bathroom furniture but in harmony with it. Around her waist is a black sash and a brooch is at her neck. She is well dressed for a servant; she also has red hair.\n\nLike Degas, Forain caught the moment, but the result is different, except perhaps for the hair. At that time, a woman portrayed with red hair was often presumed to be a sex worker. Dancers at the Opéra frequently augmented their meagre pay in this way. If so, Forain’s young woman appears to be more successful at her calling than Degas’s ‘honest, simple folk’ in their shabby rooms. Although this is the traditional interpretation of the scene, we do not know who the woman is or why she is bathing.\n\nMaybe this alone signifies the difference of vision between the two artist friends. One was a loner, who saw his world in its true light. The other enjoyed the high life of the belle époque (1890–1914) and wore his talents with an ironic smile."}],"classification":[{"equivalents":[{"summary":{"title":"Picture"},"identifier":[{"id":"https://vocab.getty.edu/aat/300264388","type":"AAT","value":"pictures (object genre)"}],"@admin":{"uid":"0I0T-000B-0000-0000","id":"concept-picture","uuid":"7f8749b2-e93c-351a-a936-4eedd71b21ed"},"@datatype":{"actual":"equivalents","equivalents":[{"@admin":{"id":"concept-equivalents","uuid":"ff84d33a-1072-38d2-953b-5332535ba652","status":"unavailable"},"@entity":"reference"}],"base":"concept"},"@entity":"reference"}],"type":"classification","value":"Picture"},{"type":"school","value":"French"}],"title":[{"type":"full title","value":"The Tub"}],"@admin":{"processed":1777974019404,"sequence":1576084,"uid":"0CTR-0001-0000-0000","added":1697553930090,"stream":"tms","id":"object-1374","source":"Tms","uuid":"88b4ee39-72eb-3239-a7cf-59ff9bf4bfe9"},"bibliography":[{"summary":{"title":"The National Gallery: Complete Illustrated Catalogue"},"@link":{"details":{"figure":"p. 764","illustrated":true,"page":"764","type":"Key bibliography"}},"@admin":{"uid":"0E1Z-0008-0000-0000","id":"publication-34","uuid":"4025ce72-2c64-30b7-9f5b-dd46cdac09a4"},"@datatype":{"actual":"Monograph","sub":["tms"],"equivalents":[{"@admin":{"id":"concept-monograph","uuid":"adda9f35-d664-3c9d-95f8-43e2737b77c2","status":"public"},"@entity":"reference"}],"base":"publication"},"@entity":"reference"}],"material":[{"value":"Oil on canvas"},{"type":"detailed","value":"Oil on canvas"}],"plinth":{"value":"None"},"legal":{"rights":[{"details":"To encourage the use and reuse of the National Gallery's collection data, they are released under the following dedications and licences:\r\nStructured data (as opposed to narrative texts) are released under a Creative Commons Zero dedication (CC0): https://creativecommons.org/publicdomain/zero/1.0/.\r\nDescriptions, notes and all other narrative text content are licensed under a Creative Commons Attribution 4.0 licence (CC BY): https://creativecommons.org/licenses/by/4.0/.\r\nImages are licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 4.0 licence (CC BY-NC-ND): https://creativecommons.org/licenses/by-nc-nd/4.0/.","type":"use of images and metadata"}],"credit":"On loan from Tate: Bequeathed by Sir Hugh Walpole 1941","status":"Long Loan"},"inscription":[{"summary":"Signed; Inscribed","inscribed":"Inscribed","transcription":[{"value":"Inscribed: à M. 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Her large blue eyes are somewhat melancholic – there is a hint of uncertainty or vulnerability. She wears a richly patterned blue silk robe laced with gold trim, tied at the waist with a wide sash, and holds a sprig of leaves that may be laurel or perhaps myrtle, a plant traditionally associated with love.
The model is Maria Pasqua Abruzzesi (1856–1939), a young and famously beautiful Italian girl who enjoyed enormous success as a child model, posing for artists such as Ernest Hébert, Léon Bonnat, Charles François Jalabert and Henriette Browne.
The French artist Henriette Browne became a leading exponent of the Orientalist movement and her paintings generated considerable critical acclaim. Nevertheless, she chose to exhibit under a pseudonym, aware that it was socially unacceptable for a woman of her aristocratic standing to become a professional artist.
","source":"Dokuwiki","type":"short text","value":"A young girl sits quietly, engaging the viewer directly with her gaze. Her large blue eyes are somewhat melancholic – there is a hint of uncertainty or vulnerability. She wears a richly patterned blue silk robe laced with gold trim, tied at the waist with a wide sash, and holds a sprig of leaves that may be laurel or perhaps myrtle, a plant traditionally associated with love.\n\nThe model is Maria Pasqua Abruzzesi (1856–1939), a young and famously beautiful Italian girl who enjoyed enormous success as a child model, posing for artists such as Ernest Hébert, Léon Bonnat, Charles François Jalabert and Henriette Browne.\n\nThe French artist Henriette Browne became a leading exponent of the Orientalist movement and her paintings generated considerable critical acclaim. Nevertheless, she chose to exhibit under a pseudonym, aware that it was socially unacceptable for a woman of her aristocratic standing to become a professional artist."},{"formatted":"A young girl sits quietly on a chair which is covered with fabric, engaging the viewer directly with her gaze. Her lips are slightly parted and her smooth porcelain complexion is flushed with tinges of pink. Her large blue eyes are somewhat melancholic – there is a hint of uncertainty or vulnerability. She wears a richly patterned blue silk robe laced with gold trim, tied at the waist with a wide, red sash. A matching red headband is decorated with intertwined leaves, reminiscent of the wreath crowns of antiquity. She holds a sprig of leaves that may be laurel or perhaps myrtle, a plant traditionally associated with love.
The model is Maria Pasqua Abruzzesi (1856–1939), a young and famously beautiful Italian girl who had been born at Easter time (Italian: Pasqua) in the town of Velletri, south of Rome. Her parents were poor and earned their living working as artists’ models, a career that they also pursued for their daughter, whose charm and natural beauty were much admired.
In 1862 Maria’s father, Domenico, travelled with his six-year-old daughter from Rome to Paris, a difficult journey, much of which was undertaken on foot. There, she would enjoy enormous success as a child model, posing for celebrated artists including Ernest Hébert, Léon Bonnat, Charles François Jalabert and Henriette Browne. Paintings of her were acquired by eminent patrons such as the famous art critic Théophile Gautier and Baron James de Rothschild.
During the nineteenth century, nostalgic images of children became increasingly popular with collectors, representing the innocence and purity of youth. There was also a vogue for genre paintings portraying children in sentimental costume, or in the guise of peasants or street children. The painting may be intended to incite compassion in the viewer. Although the outfit indicates some wealth, the title A Greek Captive implies that the girl’s situation is precarious. Browne may have wanted to recall the depictions of Greek peasants held captive by the Ottomans before and during the Revolution of 1821, such as those by Eugène Delacroix.
The French artist Henriette Browne travelled widely with her husband Henri Jules de Saux, a diplomat, visiting destinations such as Constantinople, Morocco and Egypt. She became a leading exponent of the Orientalist movement and exhibited regularly at the Paris Salon, where her paintings generated considerable acclaim. Nevertheless, she chose to exhibit under a pseudonym (her real name was Sophie de Bouteiller), since it was considered socially unacceptable for a woman of aristocratic standing to become a professional artist.
Maria Pasqua Abruzzesi parted ways with her father under extraordinary circumstances. A portrait of the young girl caught the attention of an eccentric English noblewoman, Anna Maria Helena, Comtesse de Noailles, who, having lost a child of her own, adopted and raised Maria as her own daughter in England. Aged 21, Maria married Philip Candler Shepheard, a doctor from Norfolk, and lived at Abbots Hall estate near Aylsham, where they raised four children. She would never see her own family again.
","source":"Dokuwiki","type":"long text","value":"A young girl sits quietly on a chair which is covered with fabric, engaging the viewer directly with her gaze. Her lips are slightly parted and her smooth porcelain complexion is flushed with tinges of pink. Her large blue eyes are somewhat melancholic – there is a hint of uncertainty or vulnerability. She wears a richly patterned blue silk robe laced with gold trim, tied at the waist with a wide, red sash. A matching red headband is decorated with intertwined leaves, reminiscent of the wreath crowns of antiquity. She holds a sprig of leaves that may be laurel or perhaps myrtle, a plant traditionally associated with love.\n\nThe model is Maria Pasqua Abruzzesi (1856–1939), a young and famously beautiful Italian girl who had been born at Easter time (Italian: Pasqua) in the town of Velletri, south of Rome. Her parents were poor and earned their living working as artists’ models, a career that they also pursued for their daughter, whose charm and natural beauty were much admired.\n\nIn 1862 Maria’s father, Domenico, travelled with his six-year-old daughter from Rome to Paris, a difficult journey, much of which was undertaken on foot. There, she would enjoy enormous success as a child model, posing for celebrated artists including Ernest Hébert, Léon Bonnat, Charles François Jalabert and Henriette Browne. Paintings of her were acquired by eminent patrons such as the famous art critic Théophile Gautier and Baron James de Rothschild.\n\nDuring the nineteenth century, nostalgic images of children became increasingly popular with collectors, representing the innocence and purity of youth. There was also a vogue for genre paintings portraying children in sentimental costume, or in the guise of peasants or street children. The painting may be intended to incite compassion in the viewer. Although the outfit indicates some wealth, the title A Greek Captive implies that the girl’s situation is precarious. Browne may have wanted to recall the depictions of Greek peasants held captive by the Ottomans before and during the Revolution of 1821, such as those by Eugène Delacroix.\n\nThe French artist Henriette Browne travelled widely with her husband Henri Jules de Saux, a diplomat, visiting destinations such as Constantinople, Morocco and Egypt. She became a leading exponent of the Orientalist movement and exhibited regularly at the Paris Salon, where her paintings generated considerable acclaim. Nevertheless, she chose to exhibit under a pseudonym (her real name was Sophie de Bouteiller), since it was considered socially unacceptable for a woman of aristocratic standing to become a professional artist.\n\nMaria Pasqua Abruzzesi parted ways with her father under extraordinary circumstances. A portrait of the young girl caught the attention of an eccentric English noblewoman, Anna Maria Helena, Comtesse de Noailles, who, having lost a child of her own, adopted and raised Maria as her own daughter in England. Aged 21, Maria married Philip Candler Shepheard, a doctor from Norfolk, and lived at Abbots Hall estate near Aylsham, where they raised four children. She would never see her own family again."}],"classification":[{"equivalents":[{"summary":{"title":"Picture"},"identifier":[{"id":"https://vocab.getty.edu/aat/300264388","type":"AAT","value":"pictures (object genre)"}],"@admin":{"uid":"0I0T-000B-0000-0000","id":"concept-picture","uuid":"7f8749b2-e93c-351a-a936-4eedd71b21ed"},"@datatype":{"actual":"equivalents","equivalents":[{"@admin":{"id":"concept-equivalents","uuid":"ff84d33a-1072-38d2-953b-5332535ba652","status":"unavailable"},"@entity":"reference"}],"base":"concept"},"@entity":"reference"}],"type":"classification","value":"Picture"},{"type":"school","value":"French"}],"title":[{"type":"full title","value":"A Greek Captive"}],"@admin":{"processed":1777974033385,"sequence":1577414,"uid":"0CLT-0001-0000-0000","added":1697553936834,"stream":"tms","id":"object-1400","source":"Tms","uuid":"f9ac544a-5521-3f42-8e0b-c994d8d6a676"},"bibliography":[{"summary":{"title":"The National Gallery: Complete Illustrated Catalogue"},"@link":{"details":{"figure":"p. 753","illustrated":true,"page":"753","type":"Key bibliography"}},"@admin":{"uid":"0E1Z-0008-0000-0000","id":"publication-34","uuid":"4025ce72-2c64-30b7-9f5b-dd46cdac09a4"},"@datatype":{"actual":"Monograph","sub":["tms"],"equivalents":[{"@admin":{"id":"concept-monograph","uuid":"adda9f35-d664-3c9d-95f8-43e2737b77c2","status":"public"},"@entity":"reference"}],"base":"publication"},"@entity":"reference"}],"material":[{"value":"Oil on canvas"},{"type":"detailed","value":"Oil on canvas"}],"plinth":{"value":"None"},"legal":{"rights":[{"details":"To encourage the use and reuse of the National Gallery's collection data, they are released under the following dedications and licences:\r\nStructured data (as opposed to narrative texts) are released under a Creative Commons Zero dedication (CC0): https://creativecommons.org/publicdomain/zero/1.0/.\r\nDescriptions, notes and all other narrative text content are licensed under a Creative Commons Attribution 4.0 licence (CC BY): https://creativecommons.org/licenses/by/4.0/.\r\nImages are licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 4.0 licence (CC BY-NC-ND): https://creativecommons.org/licenses/by-nc-nd/4.0/.","type":"use of images and metadata"}],"credit":"On loan from Tate: Bequeathed by C. 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They are thought to be two of four surviving panels, possibly from of a huge altarpiece made for a patron in Spain or Portugal; this format was more popular there than in the Low Countries.
Goossen ran a large workshop, and several assistants evidently worked on these panels at various stages. At least two artists did the underdrawing (the preliminary outlining of a composition); one was responsible for the figures, the other for the landscape. There were certainly changes of plan: the final landscapes are completely different from those in the underdrawing.
","source":"Dokuwiki","type":"short text","value":"These paintings show episodes from the life of Christ: the visit of the Virgin to Saint Elizabeth, and the Flight into Egypt. They are thought to be two of four surviving panels, possibly from of a huge altarpiece made for a patron in Spain or Portugal; this format was more popular there than in the Low Countries.\n\nGoossen ran a large workshop, and several assistants evidently worked on these panels at various stages. At least two artists did the underdrawing (the preliminary outlining of a composition); one was responsible for the figures, the other for the landscape. There were certainly changes of plan: the final landscapes are completely different from those in the underdrawing."},{"formatted":"These pictures show episodes from the life of Christ: the visit of the Virgin to Saint Elizabeth and the Flight into Egypt. They are perhaps the remains of a huge altarpiece, possibly made for a Spanish or Portuguese patron. Two other panels of same dimensions and similar style are believed to come from the same altarpiece: an Adoration of the Kings (Honolulu Academy of Arts) and Christ among the Doctors (Museum Mayer van den Bergh, Antwerp).
The style – large figures set in a deep landscape, full of medieval details – is typical of Netherlandish late fifteenth- and early sixteenth-century painting; we also see it in The Virgin and Child in a Landscape by Jan Provoost and The Virgin and Child in a Landscape by Bernaert van Orley. Painters often reused ideas and designs from other artists, and there are echoes in these paintings of the work of Goossen’s grandfather, Rogier van der Weyden, whose patterns and drawings he had inherited.
Although the presentation of the stories is not unusual in Netherlandish painting, the format of the altar from which they came was. The backs of all four panels are rather irregularly finished and seem never to have been painted. They were clearly not intended to be seen and so can‘t have been the shutters of a folding altarpiece, like Scenes from the Passion of Christ.
They may have been arranged around a large central panel, perhaps a (lost) Nativity, with The Visitation of the Virgin to Saint Elizabeth on the left and The Flight into Egypt on the right. Such altarpieces were popular in Spain and Portugal, where Goossen van der Weyden had contacts, and where his work was much admired. Paintings by his workshop were found in churches in Madeira and a triptych of the Presentation in the Temple (now in the Museum Nacional de Arte Antiga, Lisbon) was probably painted for a convent near Lisbon.
Goossen ran a large workshop, and it seems that various assistants worked on the panels at different stages. Infrared reflectography has revealed extensive underdrawing by two draughtsmen – one did the landscapes, the other the figures. The artist who did the figures and the donkey may well have been working from cartoons or patterns of some sort. We also know both pictures were changed at the painting stage: the artist who painted the backgrounds ignored the underdrawn landscapes. In The Visitation of the Virgin to Saint Elizabeth, for example, the view of the town on the left is painted over an underdrawing of a wooded scene. In the top right corner, completely different buildings were underdrawn and partially painted. None of the smaller figures, animals or birds are underdrawn – they were added later. Only the brick arch was planned from the start (but the view through it was changed several times).
We aren’t sure if the same artist painted the figures and the landscape, even though the technique is very similar in both pictures. They may have been done by different assistants who had been trained to work in the same way.
","source":"Dokuwiki","type":"long text","value":"These pictures show episodes from the life of Christ: the visit of the Virgin to Saint Elizabeth and the Flight into Egypt. They are perhaps the remains of a huge altarpiece, possibly made for a Spanish or Portuguese patron. Two other panels of same dimensions and similar style are believed to come from the same altarpiece: an Adoration of the Kings (Honolulu Academy of Arts) and Christ among the Doctors (Museum Mayer van den Bergh, Antwerp).\n\nThe style -- large figures set in a deep landscape, full of medieval details -- is typical of Netherlandish late fifteenth- and early sixteenth-century painting; we also see it in The Virgin and Child in a Landscape by Jan Provoost and The Virgin and Child in a Landscape by Bernaert van Orley. Painters often reused ideas and designs from other artists, and there are echoes in these paintings of the work of Goossen's grandfather, Rogier van der Weyden, whose patterns and drawings he had inherited.\n\nAlthough the presentation of the stories is not unusual in Netherlandish painting, the format of the altar from which they came was. The backs of all four panels are rather irregularly finished and seem never to have been painted. They were clearly not intended to be seen and so can't have been the shutters of a folding altarpiece, like Scenes from the Passion of Christ.\n\nThey may have been arranged around a large central panel, perhaps a (lost) Nativity, with The Visitation of the Virgin to Saint Elizabeth on the left and The Flight into Egypt on the right. Such altarpieces were popular in Spain and Portugal, where Goossen van der Weyden had contacts, and where his work was much admired. Paintings by his workshop were found in churches in Madeira and a triptych of the Presentation in the Temple (now in the Museum Nacional de Arte Antiga, Lisbon) was probably painted for a convent near Lisbon.\n\nGoossen ran a large workshop, and it seems that various assistants worked on the panels at different stages. Infrared reflectography has revealed extensive underdrawing by two draughtsmen -- one did the landscapes, the other the figures. The artist who did the figures and the donkey may well have been working from cartoons or patterns of some sort. We also know both pictures were changed at the painting stage: the artist who painted the backgrounds ignored the underdrawn landscapes. In The Visitation of the Virgin to Saint Elizabeth, for example, the view of the town on the left is painted over an underdrawing of a wooded scene. In the top right corner, completely different buildings were underdrawn and partially painted. None of the smaller figures, animals or birds are underdrawn -- they were added later. Only the brick arch was planned from the start (but the view through it was changed several times).\n\nWe aren't sure if the same artist painted the figures and the landscape, even though the technique is very similar in both pictures. They may have been done by different assistants who had been trained to work in the same way."}],"classification":[{"equivalents":[{"summary":{"title":"Picture"},"identifier":[{"id":"https://vocab.getty.edu/aat/300264388","type":"AAT","value":"pictures (object genre)"}],"@admin":{"uid":"0I0T-000B-0000-0000","id":"concept-picture","uuid":"7f8749b2-e93c-351a-a936-4eedd71b21ed"},"@datatype":{"actual":"equivalents","equivalents":[{"@admin":{"id":"concept-equivalents","uuid":"ff84d33a-1072-38d2-953b-5332535ba652","status":"unavailable"},"@entity":"reference"}],"base":"concept"},"@entity":"reference"}],"type":"classification","value":"Picture"},{"type":"school","value":"Early Netherlandish"}],"title":[{"type":"full title","value":"Two Panels from an Altarpiece"}],"@admin":{"processed":1777974037963,"sequence":1578411,"uid":"0HYI-0001-0000-0000","added":1697553968641,"stream":"tms","id":"object-8705","source":"Tms","uuid":"c51301f9-45ff-377a-8a1f-bcb59da5a6a0"},"bibliography":[{"summary":{"title":"National Gallery Catalogues: The Sixteenth Century Netherlandish Paintings: With French Paintings before 1600"},"@link":{"details":{"figure":"pp. 692, 693","illustrated":true,"page":"691-703","type":"Latest catalogue"}},"@admin":{"uid":"0E2P-0008-0000-0000","id":"publication-17","uuid":"9ce45fe1-2f26-3a64-997c-d12645e72c8f"},"@datatype":{"actual":"Monograph","sub":["tms"],"equivalents":[{"@admin":{"id":"concept-monograph","uuid":"adda9f35-d664-3c9d-95f8-43e2737b77c2","status":"public"},"@entity":"reference"}],"base":"publication"},"@entity":"reference"}],"material":[{"value":"oil on wood"}],"legal":{"rights":[{"details":"To encourage the use and reuse of the National Gallery's collection data, they are released under the following dedications and licences:\r\nStructured data (as opposed to narrative texts) are released under a Creative Commons Zero dedication (CC0): https://creativecommons.org/publicdomain/zero/1.0/.\r\nDescriptions, notes and all other narrative text content are licensed under a Creative Commons Attribution 4.0 licence (CC BY): https://creativecommons.org/licenses/by/4.0/.\r\nImages are licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 4.0 licence (CC BY-NC-ND): https://creativecommons.org/licenses/by-nc-nd/4.0/.","type":"use of images and metadata"}],"credit":"Bequeathed by Mrs Joseph H. 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They sit together on a plush sofa, looking uncomfortable. We cannot see their full figures, as the painting cuts off at their knees. Another empty sofa fills the bottom of the picture.
This is one of many brothel scenes that Henri Toulouse-Lautrec painted between 1892 and 1895 in Paris. He felt comfortable in these surroundings and the women accepted him. He once said, ‘Nowhere else do I feel so much at home.’
Toulouse-Lautrec probably made this sketch to prepare for a much bigger painting, In the Salon in the Rue des Moulins of 1894 (Musée Toulouse-Lautrec, Albi). He painted both pictures from the same spot in the room. But the larger painting shows more, as we see the whole room and four more women.
","source":"Dokuwiki","type":"short text","value":"A woman shrinks into her shawl while her companion leans over to comfort her. They sit together on a plush sofa, looking uncomfortable. We cannot see their full figures, as the painting cuts off at their knees. Another empty sofa fills the bottom of the picture.\n\nThis is one of many brothel scenes that Henri Toulouse-Lautrec painted between 1892 and 1895 in Paris. He felt comfortable in these surroundings and the women accepted him. He once said, ‘Nowhere else do I feel so much at home.’\n\nToulouse-Lautrec probably made this sketch to prepare for a much bigger painting, In the Salon in the Rue des Moulins of 1894 (Musée Toulouse-Lautrec, Albi). He painted both pictures from the same spot in the room. But the larger painting shows more, as we see the whole room and four more women."},{"formatted":"Two women sit together, looking uncomfortable on a sofa. One reaches round, trying to comfort the other, who shrinks back into her shawl. The painting cuts off the women’s knees at the edge, and an empty sofa fills the bottom of the picture.
This unusual viewpoint makes the scene feel spontaneous and real. Toulouse-Lautrec added to this feeling with his hasty painting style. He drew long blue brushstrokes for the main outlines and you can see where he changed his mind. He tried several times to find the right line, but didn’t hide his mistakes. He blocked in colours very roughly on the women’s clothing, sometimes painting outside his first outlines. The women wear matching dresses, which seems strange. Perhaps he was working so fast that he did not have time to mix different colours for their clothing.
This painting belongs to a series of scenes set inside Parisian brothels that Toulouse-Lautrec made between 1892 and 1895. He felt comfortable in these surroundings. He once said, ‘I have found [here] girls of my own size! Nowhere else do I feel so much at home.’ His fellow artist, Édouard Vuillard, believed that ‘Lautrec was too proud to submit to his lot, as a physical freak, an aristocrat cut off from his kind by his grotesque appearance. He found an affinity between his condition and the moral penury of the prostitute.’ Toulouse-Lautrec fractured both of his legs as a teenager, and they never healed or grew beyond those of a child. People mocked him for his appearance, which turned him into an outcast and alcoholic. Pushed to the margins of society, he could see the humanity and fragility of the women exploited in the brothels.
He spent long periods studying the women’s daily lives. He did not ask them to pose formally. Instead, he enjoyed the challenge of capturing their spontaneous interactions. ‘A model is always a stuffed doll,’ he said, ‘but these women are alive. I wouldn’t venture to pay them the hundred coins to sit for me, and God knows whether they would be worth it. They stretch out on the sofas like pets, make no demand and they are not in the least bit conceited.’
Toulouse-Lautrec probably painted this sketch in the brothel on the Rue des Moulins. He later painted the same place in a much bigger picture, In the Salon in the Rue des Moulins of 1894 (Musée Toulouse-Lautrec, Albi). But this sketch only loosely resembles the final painting. He was exploring ideas rather than perfecting specific poses. The sketch seems to show the same corner of the room, but the larger work includes more space and four more women.
Toulouse-Lautrec’s sideways view, fast brushwork and unfinished style make the picture fresh and alive. We sense movement and intimacy. We entered a private space. Through Toulouse-Lautrec’s eyes, we become voyeurs, watching the women as they wait for clients and recover between visits.
","source":"Dokuwiki","type":"long text","value":"Two women sit together, looking uncomfortable on a sofa. One reaches round, trying to comfort the other, who shrinks back into her shawl. The painting cuts off the women’s knees at the edge, and an empty sofa fills the bottom of the picture.\n\nThis unusual viewpoint makes the scene feel spontaneous and real. Toulouse-Lautrec added to this feeling with his hasty painting style. He drew long blue brushstrokes for the main outlines and you can see where he changed his mind. He tried several times to find the right line, but didn’t hide his mistakes. He blocked in colours very roughly on the women’s clothing, sometimes painting outside his first outlines. The women wear matching dresses, which seems strange. Perhaps he was working so fast that he did not have time to mix different colours for their clothing.\n\nThis painting belongs to a series of scenes set inside Parisian brothels that Toulouse-Lautrec made between 1892 and 1895. He felt comfortable in these surroundings. He once said, ‘I have found [here] girls of my own size! Nowhere else do I feel so much at home.’ His fellow artist, Édouard Vuillard, believed that ‘Lautrec was too proud to submit to his lot, as a physical freak, an aristocrat cut off from his kind by his grotesque appearance. He found an affinity between his condition and the moral penury of the prostitute.’ Toulouse-Lautrec fractured both of his legs as a teenager, and they never healed or grew beyond those of a child. People mocked him for his appearance, which turned him into an outcast and alcoholic. Pushed to the margins of society, he could see the humanity and fragility of the women exploited in the brothels.\n\nHe spent long periods studying the women’s daily lives. He did not ask them to pose formally. Instead, he enjoyed the challenge of capturing their spontaneous interactions. ‘A model is always a stuffed doll,’ he said, ‘but these women are alive. I wouldn’t venture to pay them the hundred coins to sit for me, and God knows whether they would be worth it. They stretch out on the sofas like pets, make no demand and they are not in the least bit conceited.’\n\nToulouse-Lautrec probably painted this sketch in the brothel on the Rue des Moulins. He later painted the same place in a much bigger picture, In the Salon in the Rue des Moulins of 1894 (Musée Toulouse-Lautrec, Albi). But this sketch only loosely resembles the final painting. He was exploring ideas rather than perfecting specific poses. The sketch seems to show the same corner of the room, but the larger work includes more space and four more women.\n\nToulouse-Lautrec’s sideways view, fast brushwork and unfinished style make the picture fresh and alive. We sense movement and intimacy. We entered a private space. Through Toulouse-Lautrec’s eyes, we become voyeurs, watching the women as they wait for clients and recover between visits."}],"classification":[{"equivalents":[{"summary":{"title":"Picture"},"identifier":[{"id":"https://vocab.getty.edu/aat/300264388","type":"AAT","value":"pictures (object genre)"}],"@admin":{"uid":"0I0T-000B-0000-0000","id":"concept-picture","uuid":"7f8749b2-e93c-351a-a936-4eedd71b21ed"},"@datatype":{"actual":"equivalents","equivalents":[{"@admin":{"id":"concept-equivalents","uuid":"ff84d33a-1072-38d2-953b-5332535ba652","status":"unavailable"},"@entity":"reference"}],"base":"concept"},"@entity":"reference"}],"type":"classification","value":"Picture"},{"type":"school","value":"French"}],"title":[{"type":"full title","value":"The Two Friends"}],"@admin":{"processed":1777974046268,"sequence":1580357,"uid":"0DDC-0001-0000-0000","added":1697553936481,"stream":"tms","id":"object-1406","source":"Tms","uuid":"38b7d2bb-ea86-3ff3-8c09-c65c63f35b31"},"bibliography":[{"summary":{"title":"The National Gallery: Complete Illustrated Catalogue"},"@link":{"details":{"figure":"p. 789","illustrated":true,"page":"789","type":"Key bibliography"}},"@admin":{"uid":"0E1Z-0008-0000-0000","id":"publication-34","uuid":"4025ce72-2c64-30b7-9f5b-dd46cdac09a4"},"@datatype":{"actual":"Monograph","sub":["tms"],"equivalents":[{"@admin":{"id":"concept-monograph","uuid":"adda9f35-d664-3c9d-95f8-43e2737b77c2","status":"public"},"@entity":"reference"}],"base":"publication"},"@entity":"reference"},{"summary":{"title":"Toulouse-Lautrec et son œuvre / M. 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He left many images of his friends and family, as well as of the eminent artists of his time.
Artists often flatter their sitters, but not Fantin-Latour. The self portraits show him in various moods, but always getting down to the bones of representing himself.
Wary-looking grey eyes are set deep in shadow over high cheekbones. A wispy reddish beard almost conceals the straight mouth. A darker chestnut mane of hair shows little sign of a professional barber’s attention. The nose is prominent, turned up at the tip. A bump in the middle suggests it might have been broken at some point.
His delicate flower pictures kept him secure and respected and continue to delight. However, it is the portraits that show him as the impressive artist that he was.
","source":"Dokuwiki","type":"short text","value":"Famous for his still-life paintings of flowers, Henri Fantin-Latour was also a formidable portrait artist. He left many images of his friends and family, as well as of the eminent artists of his time.\n\nArtists often flatter their sitters, but not Fantin-Latour. The self portraits show him in various moods, but always getting down to the bones of representing himself.\n\nWary-looking grey eyes are set deep in shadow over high cheekbones. A wispy reddish beard almost conceals the straight mouth. A darker chestnut mane of hair shows little sign of a professional barber’s attention. The nose is prominent, turned up at the tip. A bump in the middle suggests it might have been broken at some point.\n\nHis delicate flower pictures kept him secure and respected and continue to delight. However, it is the portraits that show him as the impressive artist that he was."},{"formatted":"Famous for his still-life paintings of flowers, Henri Fantin-Latour was also a formidable portrait artist. He left many images of his friends and family, as well as of the eminent artists of his time, such as his friend Edouard Manet (Art Institute of Chicago).
All this he achieved by years of hard work. He copied the great masters of the past in the Musée du Louvre and painted twenty-one self portraits. This is how most portrait artists practised. Rembrandt left a hundred such images. Models are expensive, especially when you are still trying to make your name. As Fantin-Latour wrote of himself: ‘He is a model who is always ready, who offers all the advantages, he is punctual, co-operative and one knows him before beginning to paint.’
Portrait artists often flatter their sitters, but not Fantin-Latour. After a short while training with Gustave Courbet, he maintained a lifelong commitment to Realism, portraying the truth of reality. The self portraits show him in various moods, but always getting down to the bones of representing himself. In this painting, there is a feeling of unease. He seems to glance back, as if we might be following him. In reality, he is looking into a mirror, as he must do to make the portrait.
Wary-looking grey eyes are set deep in shadow over high cheekbones. A wispy reddish beard almost conceals the straight mouth. A darker chestnut mane of hair shows little sign of a professional barber’s attention. The nose is prominent, turned up at the tip. A bump in the middle suggests it might have been broken at some point. A streak of bright white indicates his shirt collar. This, and the reflected light on his nose, enlivens the muted colours of the picture.
Most of the other twenty-one paintings show Fantin-Latour’s head and shoulders against the background of a plain wall with no clutter to tell us more about him as a person. But this image is different. He gives us a little more information. Above his head the base of a gilded frame tips forward as it hangs, adding to the feeling of unease. Behind him is an unframed painting. It has been tentatively identified as the artist’s portrait of his sister, Mademoiselle Marie Fantin-Latour (Birmingham Museum and Art Gallery). This was one of three paintings rejected by the Paris Salon a short while before. It is remarkably indistinct, almost giving the impression that it has been rubbed out. This may perhaps be a metaphor for rubbing from his mind the event that had so disappointed him, but which left him determined to carry on.
There came a stage when, albeit successful, he decided to give up portraiture in favour of ‘imaginative’ paintings, including subjects from mythology such as The Judgement of Paris. But that painting stayed hidden away in his studio throughout his career. His delicate flower pictures kept him secure and respected and continue to delight. However, it is the portraits that show him as the impressive artist that he was.
","source":"Dokuwiki","type":"long text","value":"Famous for his still-life paintings of flowers, Henri Fantin-Latour was also a formidable portrait artist. He left many images of his friends and family, as well as of the eminent artists of his time, such as his friend Edouard Manet (Art Institute of Chicago).\n\nAll this he achieved by years of hard work. He copied the great masters of the past in the Musée du Louvre and painted twenty-one self portraits. This is how most portrait artists practised. Rembrandt left a hundred such images. Models are expensive, especially when you are still trying to make your name. As Fantin-Latour wrote of himself: ‘He is a model who is always ready, who offers all the advantages, he is punctual, co-operative and one knows him before beginning to paint.’\n\nPortrait artists often flatter their sitters, but not Fantin-Latour. After a short while training with Gustave Courbet, he maintained a lifelong commitment to Realism, portraying the truth of reality. The self portraits show him in various moods, but always getting down to the bones of representing himself. In this painting, there is a feeling of unease. He seems to glance back, as if we might be following him. In reality, he is looking into a mirror, as he must do to make the portrait.\n\nWary-looking grey eyes are set deep in shadow over high cheekbones. A wispy reddish beard almost conceals the straight mouth. A darker chestnut mane of hair shows little sign of a professional barber’s attention. The nose is prominent, turned up at the tip. A bump in the middle suggests it might have been broken at some point. A streak of bright white indicates his shirt collar. This, and the reflected light on his nose, enlivens the muted colours of the picture.\n\nMost of the other twenty-one paintings show Fantin-Latour’s head and shoulders against the background of a plain wall with no clutter to tell us more about him as a person. But this image is different. He gives us a little more information. Above his head the base of a gilded frame tips forward as it hangs, adding to the feeling of unease. Behind him is an unframed painting. It has been tentatively identified as the artist’s portrait of his sister, Mademoiselle Marie Fantin-Latour (Birmingham Museum and Art Gallery). This was one of three paintings rejected by the Paris Salon a short while before. It is remarkably indistinct, almost giving the impression that it has been rubbed out. This may perhaps be a metaphor for rubbing from his mind the event that had so disappointed him, but which left him determined to carry on.\n\nThere came a stage when, albeit successful, he decided to give up portraiture in favour of ‘imaginative’ paintings, including subjects from mythology such as The Judgement of Paris. But that painting stayed hidden away in his studio throughout his career. His delicate flower pictures kept him secure and respected and continue to delight. 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He seems old beyond his years. His expression is difficult to read because it appears to change. Sometimes the gaze is direct, penetrating. At other times, the large brown eyes seem to question what they see, or else they soften.
Carrière believed that he saw figures before him ‘blurred, shrouded, transfigured’. What he painted was not so much a portrait of the child, but an ethereal vision of him seen through a moving veil. He called this veil ‘atmosphere’. To achieve this, he gave up the use of almost anything but black, white and, especially, shades of brown. It is believed that Pablo Picasso was interested in Carrière’s ideas, giving rise to the restricted palette and elongated figures of his Blue Period.
","source":"Dokuwiki","type":"short text","value":"The little boy in Eugène Carrière’s delicate, sensitive portrait is almost certainly one of his seven children. It is most likely his second son, Jean-René, born in 1888. If so, he is about three years of age.\n\nHe seems old beyond his years. His expression is difficult to read because it appears to change. Sometimes the gaze is direct, penetrating. At other times, the large brown eyes seem to question what they see, or else they soften.\n\nCarrière believed that he saw figures before him ‘blurred, shrouded, transfigured’. What he painted was not so much a portrait of the child, but an ethereal vision of him seen through a moving veil. He called this veil ‘atmosphere’. To achieve this, he gave up the use of almost anything but black, white and, especially, shades of brown. It is believed that Pablo Picasso was interested in Carrière’s ideas, giving rise to the restricted palette and elongated figures of his Blue Period."},{"formatted":"The little boy in Eugène Carrière’s delicate, sensitive portrait is almost certainly one of his seven children. It is most likely his second son, Jean-René, who was born in 1888. If so, he is about three years of age.
He seems old beyond his years. His expression is difficult to read because it appears to change. Sometimes the gaze is direct, penetrating. At other times, the large brown eyes seem to question what they see, or else they soften. The full mouth is a little pursed as if he is about to speak. He is pale. The only touch of colour is the soft pink of his lips and around his left eye and cheek. Beneath the childish chubbiness, the bone structure is visible, almost palpable. Carrière’s method was to mark out prominences, curves, hollows and reliefs rather than using line, working like a sculptor.
The boy’s eyebrows have almost vanished, but the long, rather thin hair has an auburn tint. One tress falls over his forehead looking roughly chopped rather than trimmed. Just above his temples, patches of hair seem to be missing. It is as if the whole of the front of the hairline has been shaved and the lock combed down to disguise it. On the left it is difficult to discern where the hair ends and the background begins. This is possibly the result of making the hair appear to move – part of Carrière’s belief that he saw figures before him ‘blurred, shrouded, transfigured’. What he painted was not so much a portrait of the child, but an ethereal vision of him seen through a moving veil. He called this veil ‘atmosphere’. He believed that a human being lives in a translucent atmosphere, ‘as real as a fish swimming in water’.
Carrière started out as a gifted colourist. In his fine portrait of the sculptor Henri Devillez (Musée d’Orsay, Paris), the colours are subtle and warm. He used some blurring together with moments of striking brilliance on the figure of the sculptor. Gradually, Carrière gave up the use of almost anything but black, white and, especially, shades of brown. It appears that this seemingly strange choice came partly from a change in his moral ideal of human philosophy. He became obsessed with the idea of enveloping everything with air and atmosphere. He said: ‘Nothing in nature is completely distinct from anything else. Things emerging from the atmosphere are bathed by it and partly carried away.’
For many years Carrière struggled to make a living. His family were virtually his only models, as we can see in Winding Wool (Tate, London). Eventually, he became not only recognised but also influential. It is believed that Pablo Picasso was interested in his ideas. For many of the paintings in his Blue Period, such as The Old Guitarist (Art Institute of Chicago), Picasso used a restricted palette and elongated figures similar to Carrière’s.
","source":"Dokuwiki","type":"long text","value":"The little boy in Eugène Carrière’s delicate, sensitive portrait is almost certainly one of his seven children. It is most likely his second son, Jean-René, who was born in 1888. If so, he is about three years of age.\n\nHe seems old beyond his years. His expression is difficult to read because it appears to change. Sometimes the gaze is direct, penetrating. At other times, the large brown eyes seem to question what they see, or else they soften. The full mouth is a little pursed as if he is about to speak. He is pale. The only touch of colour is the soft pink of his lips and around his left eye and cheek. Beneath the childish chubbiness, the bone structure is visible, almost palpable. Carrière’s method was to mark out prominences, curves, hollows and reliefs rather than using line, working like a sculptor.\n\nThe boy’s eyebrows have almost vanished, but the long, rather thin hair has an auburn tint. 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A group of Renaissance artists carries the painting on a trestle. Cimabue leads the way, walking hand in hand with his student and protégé, Giotto. The poet Dante leans against a pillar in the right foreground. On horseback is Charles of Anjou, King of Naples.
Civic leaders and stylish young men gather behind the trestle. Dancing children, musicians, an acolyte, priests and a bishop are on the left. A nursemaid on a balcony holds up a crying baby to see the painting. Cimabue’s devotion to Giotto touched a chord in Leighton, who was protective towards young, struggling artists. The painting is known as the Rucellai Madonna. It is now attributed to Duccio and is in the Uffizi Gallery in Florence.
","source":"Dokuwiki","type":"short text","value":"Lord Leighton depicts Cimabue’s Madonna and Child as it is taken from his house and through the streets of Florence to the Rucellai Chapel in the church of Santa Maria Novella. A group of Renaissance artists carries the painting on a trestle. Cimabue leads the way, walking hand in hand with his student and protégé, Giotto. The poet Dante leans against a pillar in the right foreground. On horseback is Charles of Anjou, King of Naples.\n\nCivic leaders and stylish young men gather behind the trestle. Dancing children, musicians, an acolyte, priests and a bishop are on the left. A nursemaid on a balcony holds up a crying baby to see the painting. Cimabue’s devotion to Giotto touched a chord in Leighton, who was protective towards young, struggling artists. The painting is known as the Rucellai Madonna. It is now attributed to Duccio and is in the Uffizi Gallery in Florence."},{"formatted":"‘There was a very big picture by a young man called Leighton’, wrote Queen Victoria in her diary after a visit to the Royal Academy. The date was 3 May 1855. ‘It is a beautiful painting quite reminding one of a Paul Veronese [sic], so bright and full of lights. Albert was enchanted with it, so much so that he made me buy it.’
In 1285 the Rucellai Madonna (Gallerie degli Uffizi, Florence) was taken from the artist’s house and carried through the streets of Florence to the Rucellai Chapel in the church of Santa Maria Novella. The artist and biographer Giorgio Vasari tells the story in his Life of Cimabue (1st edn 1550), but the painting is now thought to be by Duccio. The story appealed to Leighton because it chimed with his thoughts on the Renaissance. This was a time when devotion to art, beauty and creativity was more widely understood and acknowledged.
The wood panel with the Madonna dominates the colourful, frieze-like procession. It leans forward from its frame as if looking down on the crowd. A group of painters and sculptors carry the panel on a trestle. Their costume and demeanour suggest they are of high status. Cimabue leads the way, dressed all in white and wearing a laurel wreath. Walking with him, hand in hand, is his student and protégé, Giotto.
In the foreground to the right is the poet Dante. He leans against a pillar watching the procession, thoughtful and detached. Charles of Anjou, King of Naples, is on horseback and stands out in scarlet and ermine. He had apparently broken a journey to see the painting before it left the artist’s workshop. Civic leaders and stylish young men gather behind the trestle, deep in discussion. Dancing children carrying flowers, musicians, an acolyte, priests and a bishop are on the left. They rub shoulders with alluring maidens and a couple discussing haberdashery. A nursemaid on a balcony holds up a crying baby to see the procession. Strangely, the baby seems to be the only person looking at the Madonna.
Leighton’s research for the costumes and buildings was thorough. He made many detailed preparatory sketches and designs.
","source":"Dokuwiki","type":"long text","value":"‘There was a very big picture by a young man called Leighton’, wrote Queen Victoria in her diary after a visit to the Royal Academy. The date was 3 May 1855. ‘It is a beautiful painting quite reminding one of a Paul Veronese [sic], so bright and full of lights. Albert was enchanted with it, so much so that he made me buy it.’\n\nIn 1285 the Rucellai Madonna (Gallerie degli Uffizi, Florence) was taken from the artist’s house and carried through the streets of Florence to the Rucellai Chapel in the church of Santa Maria Novella. The artist and biographer Giorgio Vasari tells the story in his Life of Cimabue (1st edn 1550), but the painting is now thought to be by Duccio. The story appealed to Leighton because it chimed with his thoughts on the Renaissance. This was a time when devotion to art, beauty and creativity was more widely understood and acknowledged.\n\nThe wood panel with the Madonna dominates the colourful, frieze-like procession. It leans forward from its frame as if looking down on the crowd. A group of painters and sculptors carry the panel on a trestle. Their costume and demeanour suggest they are of high status. Cimabue leads the way, dressed all in white and wearing a laurel wreath. Walking with him, hand in hand, is his student and protégé, Giotto.\n\nIn the foreground to the right is the poet Dante. He leans against a pillar watching the procession, thoughtful and detached. Charles of Anjou, King of Naples, is on horseback and stands out in scarlet and ermine. He had apparently broken a journey to see the painting before it left the artist’s workshop. Civic leaders and stylish young men gather behind the trestle, deep in discussion. Dancing children carrying flowers, musicians, an acolyte, priests and a bishop are on the left. They rub shoulders with alluring maidens and a couple discussing haberdashery. A nursemaid on a balcony holds up a crying baby to see the procession. Strangely, the baby seems to be the only person looking at the Madonna.\n\nLeighton’s research for the costumes and buildings was thorough. He made many detailed preparatory sketches and designs."}],"title":[{"type":"full title","value":"Cimabue's Celebrated Madonna is carried in Procession through the Streets of Florence"},{"type":"short title","value":"Cimabue's Celebrated Madonna"}],"bibliography":[{"summary":{"title":"The National Gallery: Complete Illustrated Catalogue"},"@link":{"details":{"figure":"p. 372","illustrated":true,"page":"372","type":"Key bibliography"}},"@admin":{"uid":"0E1Z-0008-0000-0000","id":"publication-34","uuid":"4025ce72-2c64-30b7-9f5b-dd46cdac09a4"},"@datatype":{"actual":"Monograph","sub":["tms"],"equivalents":[{"@admin":{"id":"concept-monograph","uuid":"adda9f35-d664-3c9d-95f8-43e2737b77c2","status":"public"},"@entity":"reference"}],"base":"publication"},"@entity":"reference"},{"summary":{"title":"In the national interest : Sir Charles Eastlake and the National Gallery’s collection of Italian Renaissance paintings /Christopher Hodkinson."},"@link":{"details":{"page":"Ill. fig. 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Shown half-length, we can see his waistline, marked by the change in the colour of his clothes, but no lower. The background and clothing are painted with broad, blended brushstrokes, as is the long beard. Only in the Old Man’s face is there any degree of detail. Most striking are the intense blue eyes, each with a catchlight that brings them to life and renders them alert. The crown of the head is almost completely bald.
The clothes suggest that the man was not wealthy enough to commission a highly finished portrait. Therefore, this is more likely to be a character study for a figure in a history painting, a genre in which the artist Ilya Repin excelled, along with portraiture. The signature, written in Cyrillic, can be seen at the bottom left, together with the date and location: ‘1878, Moskva’ (Moscow).
","source":"Dokuwiki","type":"short text","value":"The Old Man is seated against a neutral background. Shown half-length, we can see his waistline, marked by the change in the colour of his clothes, but no lower. The background and clothing are painted with broad, blended brushstrokes, as is the long beard. Only in the Old Man’s face is there any degree of detail. Most striking are the intense blue eyes, each with a catchlight that brings them to life and renders them alert. The crown of the head is almost completely bald.\n\nThe clothes suggest that the man was not wealthy enough to commission a highly finished portrait. Therefore, this is more likely to be a character study for a figure in a history painting, a genre in which the artist Ilya Repin excelled, along with portraiture. The signature, written in Cyrillic, can be seen at the bottom left, together with the date and location: ‘1878, Moskva’ (Moscow)."},{"formatted":"The Old Man is seated against a neutral, dark brown background, looking out of the painting on a diagonal to our right. He is shown half-length, with his hands apparently resting on his lap, and we can see his waistline, marked by the change in the colour of his clothes, but no lower. Even his hands, which we can tell must be joined, are not included. Over his baggy-sleeved brown smock is a grey coat, or cloak, with a broad collar folded back to reveal what, in the context of the subdued colour scheme, is an unexpected purple lining. The background and clothing are freely painted with broad, blended brushstrokes, as is the long, flowing beard. Only in the precise observation of the Old Man’s face is there any degree of detail. Most striking are the intense blue eyes, each with a catchlight that brings them to life and renders them alert. The light and shade on the face are subtly modulated to define the depth of the eye sockets, the shape of the nose and the creases on either side of the mouth. Above the heavy brows, the forehead is deeply wrinkled and veins can be seen on the temples. The crown of the head is almost completely bald, although a few wispy hairs survive, standing out against the dark background.
The function of this study is not entirely clear. Although formatted like a portrait, the clothes suggest that the man was not wealthy enough to commission the type of highly finished portrait for which it could have been a preparatory study. It is more likely to be a character study for a figure in a history painting, a genre in which the artist Ilya Repin excelled, along with portraiture.
The signature, written in Cyrillic, can be seen at the bottom left, together with the date and location: ‘1878, Moskva’ (Moscow). This was a significant year for Repin. Born in 1844 in the Kharkiv region of Ukraine, he studied first with a painter of Orthodox icons. In 1864 he enrolled at the Academy of Fine Arts in St Petersburg, where he would remain until 1873. After three years travelling in Western Europe and living in Paris, he returned to Kharkiv, where he began a series of studies to which this painting belongs. However, this example dates to the year he moved to Moscow. In 1878 he joined a group of artists called the Peredvizhniki, or ‘Wanderers’, which had been founded eight years earlier. Their aim was twofold: to take their art to a large audience by contributing to touring exhibitions across the Russian Empire, and to create a truly national school of painting with art that had both social and political relevance. Their intentions are perfectly represented on a minor scale by this naturalistic and ‘honest’ study of one of the people.
","source":"Dokuwiki","type":"long text","value":"The Old Man is seated against a neutral, dark brown background, looking out of the painting on a diagonal to our right. He is shown half-length, with his hands apparently resting on his lap, and we can see his waistline, marked by the change in the colour of his clothes, but no lower. Even his hands, which we can tell must be joined, are not included. Over his baggy-sleeved brown smock is a grey coat, or cloak, with a broad collar folded back to reveal what, in the context of the subdued colour scheme, is an unexpected purple lining. The background and clothing are freely painted with broad, blended brushstrokes, as is the long, flowing beard. Only in the precise observation of the Old Man’s face is there any degree of detail. Most striking are the intense blue eyes, each with a catchlight that brings them to life and renders them alert. 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Born in 1844 in the Kharkiv region of Ukraine, he studied first with a painter of Orthodox icons. In 1864 he enrolled at the Academy of Fine Arts in St Petersburg, where he would remain until 1873. After three years travelling in Western Europe and living in Paris, he returned to Kharkiv, where he began a series of studies to which this painting belongs. However, this example dates to the year he moved to Moscow. In 1878 he joined a group of artists called the Peredvizhniki, or ‘Wanderers’, which had been founded eight years earlier. Their aim was twofold: to take their art to a large audience by contributing to touring exhibitions across the Russian Empire, and to create a truly national school of painting with art that had both social and political relevance. Their intentions are perfectly represented on a minor scale by this naturalistic and ‘honest’ study of one of the people."}],"classification":[{"equivalents":[{"summary":{"title":"Picture"},"identifier":[{"id":"https://vocab.getty.edu/aat/300264388","type":"AAT","value":"pictures (object genre)"}],"@admin":{"uid":"0I0T-000B-0000-0000","id":"concept-picture","uuid":"7f8749b2-e93c-351a-a936-4eedd71b21ed"},"@datatype":{"actual":"equivalents","equivalents":[{"@admin":{"id":"concept-equivalents","uuid":"ff84d33a-1072-38d2-953b-5332535ba652","status":"unavailable"},"@entity":"reference"}],"base":"concept"},"@entity":"reference"}],"type":"classification","value":"Picture"},{"type":"school","value":"Russian"}],"title":[{"type":"full title","value":"Study of an Old Man"}],"@admin":{"processed":1777974067220,"sequence":1585031,"uid":"0DED-0001-0000-0000","added":1697553929978,"stream":"tms","id":"object-1378","source":"Tms","uuid":"acf00a49-2dc6-345a-ba0c-a0fe0531ba5b"},"bibliography":[{"summary":{"title":"The National Gallery: Complete Illustrated Catalogue"},"@link":{"details":{"figure":"p. 781","illustrated":true,"page":"781","type":"Key bibliography"}},"@admin":{"uid":"0E1Z-0008-0000-0000","id":"publication-34","uuid":"4025ce72-2c64-30b7-9f5b-dd46cdac09a4"},"@datatype":{"actual":"Monograph","sub":["tms"],"equivalents":[{"@admin":{"id":"concept-monograph","uuid":"adda9f35-d664-3c9d-95f8-43e2737b77c2","status":"public"},"@entity":"reference"}],"base":"publication"},"@entity":"reference"}],"material":[{"value":"Oil on canvas"},{"type":"detailed","value":"Oil on canvas"}],"plinth":{"value":"None"},"legal":{"rights":[{"details":"To encourage the use and reuse of the National Gallery's collection data, they are released under the following dedications and licences:\r\nStructured data (as opposed to narrative texts) are released under a Creative Commons Zero dedication (CC0): https://creativecommons.org/publicdomain/zero/1.0/.\r\nDescriptions, notes and all other narrative text content are licensed under a Creative Commons Attribution 4.0 licence (CC BY): https://creativecommons.org/licenses/by/4.0/.\r\nImages are licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 4.0 licence (CC BY-NC-ND): https://creativecommons.org/licenses/by-nc-nd/4.0/.","type":"use of images and metadata"}],"credit":"On loan from Tate: Bequeathed by Peter Provatoroff 1964","status":"Long Loan"},"inscription":[{"summary":"Signed; Dated","inscribed":"Dated","transcription":[{"value":"Signed and dated"}],"signed":"Signed"}],"location":{"current":{"summary":{"title":"Not on display"},"@admin":{"available":false}}},"style":[{"summary":{"title":"realist"},"@link":{"role":[{"value":"period/style/movement"}]},"@admin":{"uid":"0FBY-0008-0000-0000","id":"concept-40200","uuid":"51cc2760-cac6-34cc-82a5-823c18345f93"},"@datatype":{"actual":"thesaurus","equivalents":[{"@admin":{"id":"concept-thesaurus","uuid":"f43fd0f4-55b4-3b40-848f-447f65fd6444","status":"unavailable"},"@entity":"reference"}],"base":"concept"},"@entity":"reference"}],"category":[{"equivalents":[{"summary":{"title":"Main Collection"},"@admin":{"uid":"0ORM-000B-0000-0000","id":"concept-main_collection","uuid":"d85ab112-31c0-30df-965c-84034814811c"},"@datatype":{"actual":"equivalents","equivalents":[{"@admin":{"id":"concept-equivalents","uuid":"ff84d33a-1072-38d2-953b-5332535ba652","status":"unavailable"},"@entity":"reference"}],"base":"concept"},"@entity":"reference"}],"type":"department","value":"Main Collection"}],"creation":[{"date":[{"from":"1878","to":"1878","value":"1878"}],"attribution":[{"formatted":"Ilya Repin","type":"attribution","value":"Ilya Repin"},{"formatted":"Ilya Repin (1844–1930)","type":"attribution with dates","value":"Ilya Repin (1844–1930)"}],"maker":[{"date":[{"from":"1844","to":"1930","value":"1844 - 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