LaurieAnnie's photos

Title: The Entry of the Crusaders into Constantinople, after Delacroix Artist: Edgar Degas (French, Paris 1834–1917 Paris) Artist: After Eugène Delacroix (French, Charenton-Saint-Maurice 1798–1863 Paris) Date: ca. 1860 Geography: Country of Origin France Culture: French Medium: Oil on cardboard Dimensions: 13 3/4 × 14 15/16 in. (35 × 38 cm) Frame: 23 1/16 × 24 1/4 × 4 5/8 in. (58.5 × 61.6 × 11.8 cm) Classification: Paintings Credit Line: Kunsthaus Zürich, Donated by René Wehrli, 2005 (2006.19) After returning to Paris from Italy in the spring of 1859, Degas began an enthusiastic campaign of copying works by Eugène Delacroix, the esteemed Romantic painter of the preceding generation. In addition to sketching from pictures on view in exhibitions and from public murals in Paris, Degas ventured to Versailles to study the monumental Entry of the Crusaders into Constantinople (1840), which depicts an episode of religious warfare from the thirteenth century. At the time, Degas was struggling to conceive his own grand history paintings; although he ultimately turned away from such subject matter, his study of Delacroix would have a lasting effect on his approach to color. Text from: www.metmuseum.org/art/collection/search/844793

Title: The Entry of the Crusaders into Constantinople, after Delacroix Artist: Edgar Degas (French, Paris 1834–1917 Paris) Artist: After Eugène Delacroix (French, Charenton-Saint-Maurice 1798–1863 Paris) Date: ca. 1860 Geography: Country of Origin France Culture: French Medium: Oil on cardboard Dimensions: 13 3/4 × 14 15/16 in. (35 × 38 cm) Frame: 23 1/16 × 24 1/4 × 4 5/8 in. (58.5 × 61.6 × 11.8 cm) Classification: Paintings Credit Line: Kunsthaus Zürich, Donated by René Wehrli, 2005 (2006.19) After returning to Paris from Italy in the spring of 1859, Degas began an enthusiastic campaign of copying works by Eugène Delacroix, the esteemed Romantic painter of the preceding generation. In addition to sketching from pictures on view in exhibitions and from public murals in Paris, Degas ventured to Versailles to study the monumental Entry of the Crusaders into Constantinople (1840), which depicts an episode of religious warfare from the thirteenth century. At the time, Degas was struggling to conceive his own grand history paintings; although he ultimately turned away from such subject matter, his study of Delacroix would have a lasting effect on his approach to color. Text from: www.metmuseum.org/art/collection/search/844793

Title: Copy after Delacroix's "Bark of Dante" Artist: Edouard Manet (French, Paris 1832–1883 Paris) Date: ca. 1859 Medium: Oil on canvas Dimensions: 13 x 16 1/8 in. (33 x 41 cm) Classification: Paintings Credit Line: H. O. Havemeyer Collection, Bequest of Mrs. H. O. Havemeyer, 1929 Accession Number: 29.100.114 In 1855 Manet visited the studio of preeminent Romantic painter Eugène Delacroix to request permission to copy his celebrated Barque of Dante (1822). The painting was displayed that year at the Exposition Universelle, although it was usually on view and accessible for study at the Musée du Luxembourg, the public museum for contemporary art. Manet ultimately produced two versions: a more literal copy and this freely executed color study. This is one of two versions by Manet of Delacroix's celebrated painting of 1822 (Musée du Louvre, Paris). The other one, a more literal copy (Musée des Beaux-Arts, Lyons), dates from about 1855, when the original was on view at the Exposition Universelle. The present freely executed color study is thought to have been painted about 1859, the year of Manet's first Salon submission. Text from: www.metmuseum.org/art/collection/search/436949

Title: Copy after Delacroix's "Bark of Dante" Artist: Edouard Manet (French, Paris 1832–1883 Paris) Date: ca. 1859 Medium: Oil on canvas Dimensions: 13 x 16 1/8 in. (33 x 41 cm) Classification: Paintings Credit Line: H. O. Havemeyer Collection, Bequest of Mrs. H. O. Havemeyer, 1929 Accession Number: 29.100.114 In 1855 Manet visited the studio of preeminent Romantic painter Eugène Delacroix to request permission to copy his celebrated Barque of Dante (1822). The painting was displayed that year at the Exposition Universelle, although it was usually on view and accessible for study at the Musée du Luxembourg, the public museum for contemporary art. Manet ultimately produced two versions: a more literal copy and this freely executed color study. This is one of two versions by Manet of Delacroix's celebrated painting of 1822 (Musée du Louvre, Paris). The other one, a more literal copy (Musée des Beaux-Arts, Lyons), dates from about 1855, when the original was on view at the Exposition Universelle. The present freely executed color study is thought to have been painted about 1859, the year of Manet's first Salon submission. Text from: www.metmuseum.org/art/collection/search/436949

Title: Copy after Delacroix's "Bark of Dante" Artist: Edouard Manet (French, Paris 1832–1883 Paris) Date: ca. 1859 Medium: Oil on canvas Dimensions: 13 x 16 1/8 in. (33 x 41 cm) Classification: Paintings Credit Line: H. O. Havemeyer Collection, Bequest of Mrs. H. O. Havemeyer, 1929 Accession Number: 29.100.114 In 1855 Manet visited the studio of preeminent Romantic painter Eugène Delacroix to request permission to copy his celebrated Barque of Dante (1822). The painting was displayed that year at the Exposition Universelle, although it was usually on view and accessible for study at the Musée du Luxembourg, the public museum for contemporary art. Manet ultimately produced two versions: a more literal copy and this freely executed color study. This is one of two versions by Manet of Delacroix's celebrated painting of 1822 (Musée du Louvre, Paris). The other one, a more literal copy (Musée des Beaux-Arts, Lyons), dates from about 1855, when the original was on view at the Exposition Universelle. The present freely executed color study is thought to have been painted about 1859, the year of Manet's first Salon submission. Text from: www.metmuseum.org/art/collection/search/436949

Title: The Dead Toreador Artist: Edouard Manet (French, Paris 1832–1883 Paris) Date: probably 1864 Geography: Country of Origin France Culture: French Medium: Oil on canvas Dimensions: 29 7/8 × 60 3/8 in. (75.9 × 153.3 cm) Framed: 41 1/8 × 71 5/8 × 4 in. (104.4 × 181.9 × 10.2 cm) Classification: Paintings Credit Line: National Gallery of Art, Washington, D.C., Widener Collection (1942.9.40) Accession Number: MD.049 This work originally formed the lower half of a larger composition titled Episode from a Bullfight, which Manet exhibited at the Salon of 1864. Its subject reflects the current enthusiasm for Spanish culture, though it is not a scene Manet had witnessed firsthand; his first visit to Spain would occur the following year. Critics faulted the spatial relationship and relative scale between the bull and figures in the background and the fallen toreador in the foreground. Heeding this criticism, Manet cut the canvas in two and displayed this portion with a new title at his solo exhibition in 1867. Text from: www.metmuseum.org/art/collection/search/844788

Title: The Dead Toreador Artist: Edouard Manet (French, Paris 1832–1883 Paris) Date: probably 1864 Geography: Country of Origin France Culture: French Medium: Oil on canvas Dimensions: 29 7/8 × 60 3/8 in. (75.9 × 153.3 cm) Framed: 41 1/8 × 71 5/8 × 4 in. (104.4 × 181.9 × 10.2 cm) Classification: Paintings Credit Line: National Gallery of Art, Washington, D.C., Widener Collection (1942.9.40) Accession Number: MD.049 This work originally formed the lower half of a larger composition titled Episode from a Bullfight, which Manet exhibited at the Salon of 1864. Its subject reflects the current enthusiasm for Spanish culture, though it is not a scene Manet had witnessed firsthand; his first visit to Spain would occur the following year. Critics faulted the spatial relationship and relative scale between the bull and figures in the background and the fallen toreador in the foreground. Heeding this criticism, Manet cut the canvas in two and displayed this portion with a new title at his solo exhibition in 1867. Text from: www.metmuseum.org/art/collection/search/844788

Title: The Dead Toreador Artist: Edouard Manet (French, Paris 1832–1883 Paris) Date: probably 1864 Geography: Country of Origin France Culture: French Medium: Oil on canvas Dimensions: 29 7/8 × 60 3/8 in. (75.9 × 153.3 cm) Framed: 41 1/8 × 71 5/8 × 4 in. (104.4 × 181.9 × 10.2 cm) Classification: Paintings Credit Line: National Gallery of Art, Washington, D.C., Widener Collection (1942.9.40) Accession Number: MD.049 This work originally formed the lower half of a larger composition titled Episode from a Bullfight, which Manet exhibited at the Salon of 1864. Its subject reflects the current enthusiasm for Spanish culture, though it is not a scene Manet had witnessed firsthand; his first visit to Spain would occur the following year. Critics faulted the spatial relationship and relative scale between the bull and figures in the background and the fallen toreador in the foreground. Heeding this criticism, Manet cut the canvas in two and displayed this portion with a new title at his solo exhibition in 1867. Text from: www.metmuseum.org/art/collection/search/844788

Title: The Dead Toreador Artist: Edouard Manet (French, Paris 1832–1883 Paris) Date: probably 1864 Geography: Country of Origin France Culture: French Medium: Oil on canvas Dimensions: 29 7/8 × 60 3/8 in. (75.9 × 153.3 cm) Framed: 41 1/8 × 71 5/8 × 4 in. (104.4 × 181.9 × 10.2 cm) Classification: Paintings Credit Line: National Gallery of Art, Washington, D.C., Widener Collection (1942.9.40) Accession Number: MD.049 This work originally formed the lower half of a larger composition titled Episode from a Bullfight, which Manet exhibited at the Salon of 1864. Its subject reflects the current enthusiasm for Spanish culture, though it is not a scene Manet had witnessed firsthand; his first visit to Spain would occur the following year. Critics faulted the spatial relationship and relative scale between the bull and figures in the background and the fallen toreador in the foreground. Heeding this criticism, Manet cut the canvas in two and displayed this portion with a new title at his solo exhibition in 1867. Text from: www.metmuseum.org/art/collection/search/844788

Title: The Dead Toreador Artist: Edouard Manet (French, Paris 1832–1883 Paris) Date: probably 1864 Geography: Country of Origin France Culture: French Medium: Oil on canvas Dimensions: 29 7/8 × 60 3/8 in. (75.9 × 153.3 cm) Framed: 41 1/8 × 71 5/8 × 4 in. (104.4 × 181.9 × 10.2 cm) Classification: Paintings Credit Line: National Gallery of Art, Washington, D.C., Widener Collection (1942.9.40) Accession Number: MD.049 This work originally formed the lower half of a larger composition titled Episode from a Bullfight, which Manet exhibited at the Salon of 1864. Its subject reflects the current enthusiasm for Spanish culture, though it is not a scene Manet had witnessed firsthand; his first visit to Spain would occur the following year. Critics faulted the spatial relationship and relative scale between the bull and figures in the background and the fallen toreador in the foreground. Heeding this criticism, Manet cut the canvas in two and displayed this portion with a new title at his solo exhibition in 1867. Text from: www.metmuseum.org/art/collection/search/844788

Title: The Dead Toreador Artist: Edouard Manet (French, Paris 1832–1883 Paris) Date: probably 1864 Geography: Country of Origin France Culture: French Medium: Oil on canvas Dimensions: 29 7/8 × 60 3/8 in. (75.9 × 153.3 cm) Framed: 41 1/8 × 71 5/8 × 4 in. (104.4 × 181.9 × 10.2 cm) Classification: Paintings Credit Line: National Gallery of Art, Washington, D.C., Widener Collection (1942.9.40) Accession Number: MD.049 This work originally formed the lower half of a larger composition titled Episode from a Bullfight, which Manet exhibited at the Salon of 1864. Its subject reflects the current enthusiasm for Spanish culture, though it is not a scene Manet had witnessed firsthand; his first visit to Spain would occur the following year. Critics faulted the spatial relationship and relative scale between the bull and figures in the background and the fallen toreador in the foreground. Heeding this criticism, Manet cut the canvas in two and displayed this portion with a new title at his solo exhibition in 1867. Text from: www.metmuseum.org/art/collection/search/844788

Title: The Dead Toreador Artist: Edouard Manet (French, Paris 1832–1883 Paris) Date: probably 1864 Geography: Country of Origin France Culture: French Medium: Oil on canvas Dimensions: 29 7/8 × 60 3/8 in. (75.9 × 153.3 cm) Framed: 41 1/8 × 71 5/8 × 4 in. (104.4 × 181.9 × 10.2 cm) Classification: Paintings Credit Line: National Gallery of Art, Washington, D.C., Widener Collection (1942.9.40) Accession Number: MD.049 This work originally formed the lower half of a larger composition titled Episode from a Bullfight, which Manet exhibited at the Salon of 1864. Its subject reflects the current enthusiasm for Spanish culture, though it is not a scene Manet had witnessed firsthand; his first visit to Spain would occur the following year. Critics faulted the spatial relationship and relative scale between the bull and figures in the background and the fallen toreador in the foreground. Heeding this criticism, Manet cut the canvas in two and displayed this portion with a new title at his solo exhibition in 1867. Text from: www.metmuseum.org/art/collection/search/844788

Title: The Dead Toreador Artist: Edouard Manet (French, Paris 1832–1883 Paris) Date: probably 1864 Geography: Country of Origin France Culture: French Medium: Oil on canvas Dimensions: 29 7/8 × 60 3/8 in. (75.9 × 153.3 cm) Framed: 41 1/8 × 71 5/8 × 4 in. (104.4 × 181.9 × 10.2 cm) Classification: Paintings Credit Line: National Gallery of Art, Washington, D.C., Widener Collection (1942.9.40) Accession Number: MD.049 This work originally formed the lower half of a larger composition titled Episode from a Bullfight, which Manet exhibited at the Salon of 1864. Its subject reflects the current enthusiasm for Spanish culture, though it is not a scene Manet had witnessed firsthand; his first visit to Spain would occur the following year. Critics faulted the spatial relationship and relative scale between the bull and figures in the background and the fallen toreador in the foreground. Heeding this criticism, Manet cut the canvas in two and displayed this portion with a new title at his solo exhibition in 1867. Text from: www.metmuseum.org/art/collection/search/844788

Title: The Old Italian Woman Artist: Edgar Degas (French, Paris 1834–1917 Paris) Date: 1857 Medium: Oil on canvas Dimensions: 29 1/2 x 24 in. (74.9 x 61 cm) Classification: Paintings Credit Line: Bequest of Charles Goldman, 1966 Accession Number: 66.65.2 During the formative years that Degas spent working in Italy, 1856 to 1859, he made copies after old masters as well as studies of men and women in local costume, both subjects popular among the community of French artists who flocked to Rome. This painting combines a figural style and palette reminiscent of Poussin with an eye for realist detail, evident in the rendering of the woman’s wizened skin and gnarled hands. Monumental and unsparing, the picture avoids the picturesque sentimentality common to many contemporary images of peasants and beggars. Text from: www.metmuseum.org/art/collection/search/436120

Title: The Old Italian Woman Artist: Edgar Degas (French, Paris 1834–1917 Paris) Date: 1857 Medium: Oil on canvas Dimensions: 29 1/2 x 24 in. (74.9 x 61 cm) Classification: Paintings Credit Line: Bequest of Charles Goldman, 1966 Accession Number: 66.65.2 During the formative years that Degas spent working in Italy, 1856 to 1859, he made copies after old masters as well as studies of men and women in local costume, both subjects popular among the community of French artists who flocked to Rome. This painting combines a figural style and palette reminiscent of Poussin with an eye for realist detail, evident in the rendering of the woman’s wizened skin and gnarled hands. Monumental and unsparing, the picture avoids the picturesque sentimentality common to many contemporary images of peasants and beggars. Text from: www.metmuseum.org/art/collection/search/436120

Title: The Old Italian Woman Artist: Edgar Degas (French, Paris 1834–1917 Paris) Date: 1857 Medium: Oil on canvas Dimensions: 29 1/2 x 24 in. (74.9 x 61 cm) Classification: Paintings Credit Line: Bequest of Charles Goldman, 1966 Accession Number: 66.65.2 During the formative years that Degas spent working in Italy, 1856 to 1859, he made copies after old masters as well as studies of men and women in local costume, both subjects popular among the community of French artists who flocked to Rome. This painting combines a figural style and palette reminiscent of Poussin with an eye for realist detail, evident in the rendering of the woman’s wizened skin and gnarled hands. Monumental and unsparing, the picture avoids the picturesque sentimentality common to many contemporary images of peasants and beggars. Text from: www.metmuseum.org/art/collection/search/436120