LaurieAnnie's photos

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: Plainte Moresque: Portrait of Jaime Bosch Artist: Edouard Manet (French, Paris 1832–1883 Paris) Sitter: Jaime Bosch (Spanish, Barcelona 1825–1895 Paris) Date: ca. 1866 Medium: Graphite, brush and watercolor and pink gouache, pen and brown ink Dimensions: Sheet: 14 1/8 × 10 5/8 in. (35.9 × 27 cm) Classification: Drawings Credit Line: Purchase, Charles and Jessie Price and Friends of Drawings and Prints Gifts, and funds from various donors, 2023 Accession Number: 2023.396 In 1853 the Catalan musician Jaime Bosch immigrated to Paris, where a vogue for Spanish culture ensured that he found receptive audiences. Among them were Manet and his wife, who invited Bosch to perform at their apartment, and this drawing attests to the close relationship that they developed. Manet portrayed Bosch playing the guitar in this cover design for the sheet music of “Moorish Lament,” a piece the composer dedicated to the artist. Text from: www.metmuseum.org/art/collection/search/899066

Title: Plainte Moresque: Portrait of Jaime Bosch Artist: Edouard Manet (French, Paris 1832–1883 Paris) Sitter: Jaime Bosch (Spanish, Barcelona 1825–1895 Paris) Date: ca. 1866 Medium: Graphite, brush and watercolor and pink gouache, pen and brown ink Dimensions: Sheet: 14 1/8 × 10 5/8 in. (35.9 × 27 cm) Classification: Drawings Credit Line: Purchase, Charles and Jessie Price and Friends of Drawings and Prints Gifts, and funds from various donors, 2023 Accession Number: 2023.396 In 1853 the Catalan musician Jaime Bosch immigrated to Paris, where a vogue for Spanish culture ensured that he found receptive audiences. Among them were Manet and his wife, who invited Bosch to perform at their apartment, and this drawing attests to the close relationship that they developed. Manet portrayed Bosch playing the guitar in this cover design for the sheet music of “Moorish Lament,” a piece the composer dedicated to the artist. Text from: www.metmuseum.org/art/collection/search/899066

Title: The False Start Artist: Edgar Degas (French, Paris 1834–1917 Paris) Date: ca. 1869–72 Geography: Country of Origin France Culture: French Medium: Oil on panel Dimensions: 12 5/8 × 15 7/8 in. (32.1 × 40.3 cm) Framed: 19 1/8 × 22 11/16 in. (48.6 × 57.6 cm) Classification: Paintings Credit Line: Yale University Art Gallery, John Hay Whitney, B.A. 1926, Hon. 1956, Collection (1982.111.6) Here, Degas positions his viewer in the center of the track, looking over at the spectators in the shaded stands. After a false start, the jockey in the foreground struggles to restrain his horse so that he can return to the starting line. Before Eadweard Muybridge’s chronophotographic series documenting animal locomotion demonstrated that a galloping horse pulls in its limbs when it leaves the ground, painters remained faithful to pictorial convention that presents the animal in a kind of flight, with legs apart and outstretched. Degas began modeling sculptures of horses in wax around the time this painting was made. Text from: www.metmuseum.org/art/collection/search/844732

Title: The False Start Artist: Edgar Degas (French, Paris 1834–1917 Paris) Date: ca. 1869–72 Geography: Country of Origin France Culture: French Medium: Oil on panel Dimensions: 12 5/8 × 15 7/8 in. (32.1 × 40.3 cm) Framed: 19 1/8 × 22 11/16 in. (48.6 × 57.6 cm) Classification: Paintings Credit Line: Yale University Art Gallery, John Hay Whitney, B.A. 1926, Hon. 1956, Collection (1982.111.6) Here, Degas positions his viewer in the center of the track, looking over at the spectators in the shaded stands. After a false start, the jockey in the foreground struggles to restrain his horse so that he can return to the starting line. Before Eadweard Muybridge’s chronophotographic series documenting animal locomotion demonstrated that a galloping horse pulls in its limbs when it leaves the ground, painters remained faithful to pictorial convention that presents the animal in a kind of flight, with legs apart and outstretched. Degas began modeling sculptures of horses in wax around the time this painting was made. Text from: www.metmuseum.org/art/collection/search/844732

Title: A Woman Seated beside a Vase of Flowers (Madame Paul Valpinçon?) Artist: Edgar Degas (French, Paris 1834–1917 Paris) Date: 1865 Medium: Oil on canvas Dimensions: 29 x 36 1/2 in. (73.7 x 92.7 cm) Classification: Paintings Credit Line: H. O. Havemeyer Collection, Bequest of Mrs. H. O. Havemeyer, 1929 Accession Number: 29.100.128 Degas painted this work in the fall of 1865, after the Salon that presented his Scene of War in the Middle Ages and Manet’s Olympia. The remarkable composition destabilizes traditional categories of painting: it is neither a grand still life of flowers nor a portrait. The sitter is probably the wife of the artist’s schoolboy friend Paul Valpinçon, whose country house Degas immensely enjoyed visiting. Text from: www.metmuseum.org/art/collection/search/436121

Title: A Woman Seated beside a Vase of Flowers (Madame Paul Valpinçon?) Artist: Edgar Degas (French, Paris 1834–1917 Paris) Date: 1865 Medium: Oil on canvas Dimensions: 29 x 36 1/2 in. (73.7 x 92.7 cm) Classification: Paintings Credit Line: H. O. Havemeyer Collection, Bequest of Mrs. H. O. Havemeyer, 1929 Accession Number: 29.100.128 Degas painted this work in the fall of 1865, after the Salon that presented his Scene of War in the Middle Ages and Manet’s Olympia. The remarkable composition destabilizes traditional categories of painting: it is neither a grand still life of flowers nor a portrait. The sitter is probably the wife of the artist’s schoolboy friend Paul Valpinçon, whose country house Degas immensely enjoyed visiting. Text from: www.metmuseum.org/art/collection/search/436121

Title: A Woman Seated beside a Vase of Flowers (Madame Paul Valpinçon?) Artist: Edgar Degas (French, Paris 1834–1917 Paris) Date: 1865 Medium: Oil on canvas Dimensions: 29 x 36 1/2 in. (73.7 x 92.7 cm) Classification: Paintings Credit Line: H. O. Havemeyer Collection, Bequest of Mrs. H. O. Havemeyer, 1929 Accession Number: 29.100.128 Degas painted this work in the fall of 1865, after the Salon that presented his Scene of War in the Middle Ages and Manet’s Olympia. The remarkable composition destabilizes traditional categories of painting: it is neither a grand still life of flowers nor a portrait. The sitter is probably the wife of the artist’s schoolboy friend Paul Valpinçon, whose country house Degas immensely enjoyed visiting. Text from: www.metmuseum.org/art/collection/search/436121

Title: A Woman Seated beside a Vase of Flowers (Madame Paul Valpinçon?) Artist: Edgar Degas (French, Paris 1834–1917 Paris) Date: 1865 Medium: Oil on canvas Dimensions: 29 x 36 1/2 in. (73.7 x 92.7 cm) Classification: Paintings Credit Line: H. O. Havemeyer Collection, Bequest of Mrs. H. O. Havemeyer, 1929 Accession Number: 29.100.128 Degas painted this work in the fall of 1865, after the Salon that presented his Scene of War in the Middle Ages and Manet’s Olympia. The remarkable composition destabilizes traditional categories of painting: it is neither a grand still life of flowers nor a portrait. The sitter is probably the wife of the artist’s schoolboy friend Paul Valpinçon, whose country house Degas immensely enjoyed visiting. Text from: www.metmuseum.org/art/collection/search/436121

Title: Berthe Morisot with a Bouquet of Violets Artist: Edouard Manet (French, Paris 1832–1883 Paris) Date: 1872 Geography: Country of Origin France Culture: French Medium: Oil on canvas Dimensions: 21 7/8 × 15 15/16 in. (55.5 × 40.5 cm) Framed: 28 1/8 × 22 5/8 in. (71.5 × 57.5 cm) Classification: Paintings Credit Line: Musée d'Orsay, Paris (RF 1998 30) Among the eleven portraits in oil that Manet made of Morisot, this work is distinctive for the arresting gaze of the sitter, who is framed in a virtuosic composition of blacks. The striking beribboned hat and scarf signal her status as a fashionable Parisian, and the bouquet of violets clutched to her chest, a token of affection, hints at a flirtation. The journalist and critic Théodore Duret originally acquired the painting. Morisot purchased it when it came up for sale in 1894, the year before she died. Text from: www.metmuseum.org/art/collection/search/845066

Title: Berthe Morisot with a Bouquet of Violets Artist: Edouard Manet (French, Paris 1832–1883 Paris) Date: 1872 Geography: Country of Origin France Culture: French Medium: Oil on canvas Dimensions: 21 7/8 × 15 15/16 in. (55.5 × 40.5 cm) Framed: 28 1/8 × 22 5/8 in. (71.5 × 57.5 cm) Classification: Paintings Credit Line: Musée d'Orsay, Paris (RF 1998 30) Among the eleven portraits in oil that Manet made of Morisot, this work is distinctive for the arresting gaze of the sitter, who is framed in a virtuosic composition of blacks. The striking beribboned hat and scarf signal her status as a fashionable Parisian, and the bouquet of violets clutched to her chest, a token of affection, hints at a flirtation. The journalist and critic Théodore Duret originally acquired the painting. Morisot purchased it when it came up for sale in 1894, the year before she died. Text from: www.metmuseum.org/art/collection/search/845066

Title: Racehorses before the Stands Artist: Edgar Degas (French, Paris 1834–1917 Paris) Date: 1866–68 Geography: Country of Origin France Culture: French Medium: Oil on paper mounted on canvas Dimensions: 18 1/8 × 24 in. (46 × 61 cm) Framed: 27 15/16 × 33 7/16 in. (71 × 85 cm) Classification: Paintings Credit Line: Musée d'Orsay, Paris (RF 1981) Degas often painted on a sheet of paper that was then mounted on canvas. Here his medium was essence—oil paint thinned with solvents—which he worked like watercolor on paper. To that end, he left the sheet blank in many places to make highlights and applied the paint like a stain to create the dark shadows cast by the sharp sunlight. Unlike Manet’s contemporary Races at Longchamp, which conveys the adrenaline-fueled excitement of a thundering finish, Degas’s composition frames the horses and their jockeys during an off moment, apart from the action. Whether real or imaginary, the racetrack served as the artist’s stage for a strikingly modern scene, setting a bourgeois leisure activity against an industrial landscape of billowing smokestacks. Text from: www.metmuseum.org/art/collection/search/845052

Title: Racehorses before the Stands Artist: Edgar Degas (French, Paris 1834–1917 Paris) Date: 1866–68 Geography: Country of Origin France Culture: French Medium: Oil on paper mounted on canvas Dimensions: 18 1/8 × 24 in. (46 × 61 cm) Framed: 27 15/16 × 33 7/16 in. (71 × 85 cm) Classification: Paintings Credit Line: Musée d'Orsay, Paris (RF 1981) Degas often painted on a sheet of paper that was then mounted on canvas. Here his medium was essence—oil paint thinned with solvents—which he worked like watercolor on paper. To that end, he left the sheet blank in many places to make highlights and applied the paint like a stain to create the dark shadows cast by the sharp sunlight. Unlike Manet’s contemporary Races at Longchamp, which conveys the adrenaline-fueled excitement of a thundering finish, Degas’s composition frames the horses and their jockeys during an off moment, apart from the action. Whether real or imaginary, the racetrack served as the artist’s stage for a strikingly modern scene, setting a bourgeois leisure activity against an industrial landscape of billowing smokestacks. Text from: www.metmuseum.org/art/collection/search/845052

Title: Racehorses before the Stands Artist: Edgar Degas (French, Paris 1834–1917 Paris) Date: 1866–68 Geography: Country of Origin France Culture: French Medium: Oil on paper mounted on canvas Dimensions: 18 1/8 × 24 in. (46 × 61 cm) Framed: 27 15/16 × 33 7/16 in. (71 × 85 cm) Classification: Paintings Credit Line: Musée d'Orsay, Paris (RF 1981) Degas often painted on a sheet of paper that was then mounted on canvas. Here his medium was essence—oil paint thinned with solvents—which he worked like watercolor on paper. To that end, he left the sheet blank in many places to make highlights and applied the paint like a stain to create the dark shadows cast by the sharp sunlight. Unlike Manet’s contemporary Races at Longchamp, which conveys the adrenaline-fueled excitement of a thundering finish, Degas’s composition frames the horses and their jockeys during an off moment, apart from the action. Whether real or imaginary, the racetrack served as the artist’s stage for a strikingly modern scene, setting a bourgeois leisure activity against an industrial landscape of billowing smokestacks. Text from: www.metmuseum.org/art/collection/search/845052

Title: Racehorses before the Stands Artist: Edgar Degas (French, Paris 1834–1917 Paris) Date: 1866–68 Geography: Country of Origin France Culture: French Medium: Oil on paper mounted on canvas Dimensions: 18 1/8 × 24 in. (46 × 61 cm) Framed: 27 15/16 × 33 7/16 in. (71 × 85 cm) Classification: Paintings Credit Line: Musée d'Orsay, Paris (RF 1981) Degas often painted on a sheet of paper that was then mounted on canvas. Here his medium was essence—oil paint thinned with solvents—which he worked like watercolor on paper. To that end, he left the sheet blank in many places to make highlights and applied the paint like a stain to create the dark shadows cast by the sharp sunlight. Unlike Manet’s contemporary Races at Longchamp, which conveys the adrenaline-fueled excitement of a thundering finish, Degas’s composition frames the horses and their jockeys during an off moment, apart from the action. Whether real or imaginary, the racetrack served as the artist’s stage for a strikingly modern scene, setting a bourgeois leisure activity against an industrial landscape of billowing smokestacks. Text from: www.metmuseum.org/art/collection/search/845052

Title: Racehorses before the Stands Artist: Edgar Degas (French, Paris 1834–1917 Paris) Date: 1866–68 Geography: Country of Origin France Culture: French Medium: Oil on paper mounted on canvas Dimensions: 18 1/8 × 24 in. (46 × 61 cm) Framed: 27 15/16 × 33 7/16 in. (71 × 85 cm) Classification: Paintings Credit Line: Musée d'Orsay, Paris (RF 1981) Degas often painted on a sheet of paper that was then mounted on canvas. Here his medium was essence—oil paint thinned with solvents—which he worked like watercolor on paper. To that end, he left the sheet blank in many places to make highlights and applied the paint like a stain to create the dark shadows cast by the sharp sunlight. Unlike Manet’s contemporary Races at Longchamp, which conveys the adrenaline-fueled excitement of a thundering finish, Degas’s composition frames the horses and their jockeys during an off moment, apart from the action. Whether real or imaginary, the racetrack served as the artist’s stage for a strikingly modern scene, setting a bourgeois leisure activity against an industrial landscape of billowing smokestacks. Text from: www.metmuseum.org/art/collection/search/845052