LaurieAnnie's photos

La Perspective (View through the Trees in the Park of Pierre Crozat) about 1715 Antoine Watteau, French, 1684–1721 Dimensions: 46.7 x 55.3 cm (18 3/8 x 21 3/4 in.) Medium or Technique: Oil on canvas Classification: Paintings Type: Genre - Exterior Accession Number: 23.573 Watteau developed and made famous a type of painting of the elegant party, called the fête galante, in which ladies and gentlemen converse, flirt, and make music in idyllic outdoor settings. This is his only fête galante with an identifiable setting: in the distance, Watteau shows the Château de Montmorency near Paris, home of his friend and patron, the art collector and financier Pierre Crozat. The artist freely transformed the site, creating a dreamlike fantasy world evocative of the theater with its backdrop of towering trees and graceful groupings of figures in old-fashioned dress. Text from: www.mfa.org/collections/object/la-perspective-view-throug...

La Perspective (View through the Trees in the Park of Pierre Crozat) about 1715 Antoine Watteau, French, 1684–1721 Dimensions: 46.7 x 55.3 cm (18 3/8 x 21 3/4 in.) Medium or Technique: Oil on canvas Classification: Paintings Type: Genre - Exterior Accession Number: 23.573 Watteau developed and made famous a type of painting of the elegant party, called the fête galante, in which ladies and gentlemen converse, flirt, and make music in idyllic outdoor settings. This is his only fête galante with an identifiable setting: in the distance, Watteau shows the Château de Montmorency near Paris, home of his friend and patron, the art collector and financier Pierre Crozat. The artist freely transformed the site, creating a dreamlike fantasy world evocative of the theater with its backdrop of towering trees and graceful groupings of figures in old-fashioned dress. Text from: www.mfa.org/collections/object/la-perspective-view-throug...

Homer: Epic Poetry (reduction of a mural in Boston Public Library) about 1895 Pierre Puvis de Chavannes, French, 1824–1898 French Dimensions: 124.5 x 63.2 cm (49 x 24 7/8 in.) Accession Number: 23.506 Medium or Technique: Oil on canvas Inscription: Lower left: P. Puvis de Chavannes Provenance: 1896, sold by the artist to Durand-Ruel, Paris; 1897, sold by Durand-Ruel, Paris to Durand-Ruel, New York (stock no. 1671); March 12, 1897, sold by Durand-Ruel to Clara Bertram Kimball, Boston; 1923, by inheritance to her husband, David P. Kimball, Boston; 1923, bequest of David P. Kimball to the MFA. (Accession Date: November 1, 1923) Credit Line: Bequest of David P. Kimball in memory of his wife Clara Bertram Kimball Text from: www.mfa.org/collections/object/homer-epic-poetry-reduction-of-a-mural-in-boston-public-library-32062

Homer: Epic Poetry (reduction of a mural in Boston Public Library) about 1895 Pierre Puvis de Chavannes, French, 1824–1898 French Dimensions: 124.5 x 63.2 cm (49 x 24 7/8 in.) Accession Number: 23.506 Medium or Technique: Oil on canvas Inscription: Lower left: P. Puvis de Chavannes Provenance: 1896, sold by the artist to Durand-Ruel, Paris; 1897, sold by Durand-Ruel, Paris to Durand-Ruel, New York (stock no. 1671); March 12, 1897, sold by Durand-Ruel to Clara Bertram Kimball, Boston; 1923, by inheritance to her husband, David P. Kimball, Boston; 1923, bequest of David P. Kimball to the MFA. (Accession Date: November 1, 1923) Credit Line: Bequest of David P. Kimball in memory of his wife Clara Bertram Kimball Text from: www.mfa.org/collections/object/homer-epic-poetry-reduction-of-a-mural-in-boston-public-library-32062

Two Soldiers 1849 Jean Louis Ernest Meissonier, French, 1815–1891 Dimensions: 18.4 x 12.4 cm (7 1/4 x 4 7/8 in.) Medium or Technique: Oil on panel Classification: Paintings Type: Figure - Male Accession Number: RES.29.30 Text from: www.mfa.org/collections/object/two-soldiers-32327

Two Soldiers 1849 Jean Louis Ernest Meissonier, French, 1815–1891 Dimensions: 18.4 x 12.4 cm (7 1/4 x 4 7/8 in.) Medium or Technique: Oil on panel Classification: Paintings Type: Figure - Male Accession Number: RES.29.30 Text from: www.mfa.org/collections/object/two-soldiers-32327

Portrait of a Young Woman (Countess Worontzoff ?) about 1797 Marie Louise Elisabeth Vigée-Le Brun, French, 1755–1842 Dimensions: 82.2 x 70.5 cm (32 3/8 x 27 3/4 in.) Medium or Technique: Oil on canvas Classification: Paintings Type: Portrait - Single - Female Accession Number: 17.3256 Vigée-Le Brun achieved great fame for her portraits of the French aristocracy. Because women were not allowed to attend the official art schools, Vigée-Le Brun was primarily self-taught. She nevertheless gained admission to the Royal Academy of Painting and Sculpture through the support of her chief patron, the queen Marie Antoinette. When the French Revolution began in 1789, Vigée-Le Brun fled France and spent thirteen years in exile, painting the nobility of Naples, Austria, Poland, Russia, and Switzerland. Some scholars think that the charming young woman in this portrait may be Countess Irina Ivanovna Worontzov, a Russian aristocrat who posed for the painter. Text from: www.mfa.org/collections/object/portrait-of-a-young-woman-...

Portrait of a Young Woman (Countess Worontzoff ?) about 1797 Marie Louise Elisabeth Vigée-Le Brun, French, 1755–1842 Dimensions: 82.2 x 70.5 cm (32 3/8 x 27 3/4 in.) Medium or Technique: Oil on canvas Classification: Paintings Type: Portrait - Single - Female Accession Number: 17.3256 Vigée-Le Brun achieved great fame for her portraits of the French aristocracy. Because women were not allowed to attend the official art schools, Vigée-Le Brun was primarily self-taught. She nevertheless gained admission to the Royal Academy of Painting and Sculpture through the support of her chief patron, the queen Marie Antoinette. When the French Revolution began in 1789, Vigée-Le Brun fled France and spent thirteen years in exile, painting the nobility of Naples, Austria, Poland, Russia, and Switzerland. Some scholars think that the charming young woman in this portrait may be Countess Irina Ivanovna Worontzov, a Russian aristocrat who posed for the painter. Text from: www.mfa.org/collections/object/portrait-of-a-young-woman-...

Portrait of a Young Woman (Countess Worontzoff ?) about 1797 Marie Louise Elisabeth Vigée-Le Brun, French, 1755–1842 Dimensions: 82.2 x 70.5 cm (32 3/8 x 27 3/4 in.) Medium or Technique: Oil on canvas Classification: Paintings Type: Portrait - Single - Female Accession Number: 17.3256 Vigée-Le Brun achieved great fame for her portraits of the French aristocracy. Because women were not allowed to attend the official art schools, Vigée-Le Brun was primarily self-taught. She nevertheless gained admission to the Royal Academy of Painting and Sculpture through the support of her chief patron, the queen Marie Antoinette. When the French Revolution began in 1789, Vigée-Le Brun fled France and spent thirteen years in exile, painting the nobility of Naples, Austria, Poland, Russia, and Switzerland. Some scholars think that the charming young woman in this portrait may be Countess Irina Ivanovna Worontzov, a Russian aristocrat who posed for the painter. Text from: www.mfa.org/collections/object/portrait-of-a-young-woman-...

Execution of the Emperor Maximilian 1867 Edouard Manet, French, 1832–1883 Dimensions: 195.9 x 259.7 cm (77 1/8 x 102 1/4 in.) Medium or Technique: Oil on canvas Classification: Paintings Type: Historical; Oversize Accession Number: 30.444 In 1867, Maximilian, emperor of Mexico, was executed with two of his generals by order of the opposing leader, Benito Juárez. The Parisian press reacted with horror against the rebel troops in Mexico and against Napoleon III in France; Napoleon had installed the Austrian Maximilian on the Mexican throne in 1864, but later withdrew support for his regime. Breaking with tradition, Manet represented the contemporary event on the grand scale usually reserved for scenes from ancient history or myth. This unfinished canvas is the first of several versions. Text from: www.mfa.org/collections/object/execution-of-the-emperor-m...

Execution of the Emperor Maximilian 1867 Edouard Manet, French, 1832–1883 Dimensions: 195.9 x 259.7 cm (77 1/8 x 102 1/4 in.) Medium or Technique: Oil on canvas Classification: Paintings Type: Historical; Oversize Accession Number: 30.444 In 1867, Maximilian, emperor of Mexico, was executed with two of his generals by order of the opposing leader, Benito Juárez. The Parisian press reacted with horror against the rebel troops in Mexico and against Napoleon III in France; Napoleon had installed the Austrian Maximilian on the Mexican throne in 1864, but later withdrew support for his regime. Breaking with tradition, Manet represented the contemporary event on the grand scale usually reserved for scenes from ancient history or myth. This unfinished canvas is the first of several versions. Text from: www.mfa.org/collections/object/execution-of-the-emperor-m...

Young Shepherdess about 1870–73 Jean-François Millet, French, 1814–1875 Dimensions: 162 x 113 cm (63 3/4 x 44 1/2 in.) Medium or Technique: Oil on canvas Classification: Paintings Type: Genre - Exterior Accession Number: 77.249 Text from: www.mfa.org/collections/object/young-shepherdess-30893

Priory at Vauville, Normandy 1872–74 Jean-François Millet, French, 1814–1875 Dimensions: 89.9 x 116.8 cm (35 3/8 x 46 in.) Medium or Technique: Oil on canvas Classification: Paintings Type: Landscape Accession Number: 17.1532 Text from: www.mfa.org/collections/object/priory-at-vauville-normand...

Priory at Vauville, Normandy 1872–74 Jean-François Millet, French, 1814–1875 Dimensions: 89.9 x 116.8 cm (35 3/8 x 46 in.) Medium or Technique: Oil on canvas Classification: Paintings Type: Landscape Accession Number: 17.1532 Text from: www.mfa.org/collections/object/priory-at-vauville-normand...

Portrait of a Woman Wearing a Gold Chain 1634 Rembrandt Harmensz. van Rijn, Dutch, 1606–1669 Dimensions: 69.5 x 53 cm (27 3/8 x 20 7/8 in.) Medium or Technique: Oil on panel Classification: Paintings Type: Portrait - Single - Female Catalogue Raisonné: Bredius 346; RRP C 73 Accession Number: 93.1474 As a young painter newly arrived in Amsterdam, Rembrandt rapidly gained fame for his stylish portraits of Dutch burghers. Paired images of couples were common in the Netherlands; this painting and its companion, MFA Object No. 93.1475, show an unidentified husband and wife. Rembrandt captures the viewer's attention with his vivid presentation of the woman's engaging personality and the dazzling rendering of her multi-layered lace collar and gold chain. Rembrandt's technique was already daring; he has scratched the highlights of his subject's curly hair into the wet paint with the butt end of his brush. Text from: www.mfa.org/collections/object/portrait-of-a-woman-wearin...

Portrait of a Woman Wearing a Gold Chain 1634 Rembrandt Harmensz. van Rijn, Dutch, 1606–1669 Dimensions: 69.5 x 53 cm (27 3/8 x 20 7/8 in.) Medium or Technique: Oil on panel Classification: Paintings Type: Portrait - Single - Female Catalogue Raisonné: Bredius 346; RRP C 73 Accession Number: 93.1474 As a young painter newly arrived in Amsterdam, Rembrandt rapidly gained fame for his stylish portraits of Dutch burghers. Paired images of couples were common in the Netherlands; this painting and its companion, MFA Object No. 93.1475, show an unidentified husband and wife. Rembrandt captures the viewer's attention with his vivid presentation of the woman's engaging personality and the dazzling rendering of her multi-layered lace collar and gold chain. Rembrandt's technique was already daring; he has scratched the highlights of his subject's curly hair into the wet paint with the butt end of his brush. Text from: www.mfa.org/collections/object/portrait-of-a-woman-wearin...