LaurieAnnie's photos

Proposition Diurne (La femme au miroir) 1937 Paul Delvaux, Belgian, 1897–1994 Dimensions: 105.4 x 130.2 cm (41 1/2 x 51 1/4 in.) Medium or Technique: Oil on canvas Classification: Paintings Type: Genre - Exterior; Allegorical; Nude Accession Number: 2003.32 Delvaux and René Magritte (1898-1967) were the major Belgian exponents of Surrealism. Dating from the period when Delvaux arrived at his signature style, the hallucinatory quality of this scene is enhanced by his precise, almost hyper-realist, technique. Here, as if in a dream, an idealized nude woman examines a mirror that does not reflect her face, but remains as empty as her expression, the indifferent gesture of the nude man nearby, and the carefully rendered ruins in the distance. Text from: www.mfa.org/collections/object/proposition-diurne-la-femm...

Proposition Diurne (La femme au miroir) 1937 Paul Delvaux, Belgian, 1897–1994 Dimensions: 105.4 x 130.2 cm (41 1/2 x 51 1/4 in.) Medium or Technique: Oil on canvas Classification: Paintings Type: Genre - Exterior; Allegorical; Nude Accession Number: 2003.32 Delvaux and René Magritte (1898-1967) were the major Belgian exponents of Surrealism. Dating from the period when Delvaux arrived at his signature style, the hallucinatory quality of this scene is enhanced by his precise, almost hyper-realist, technique. Here, as if in a dream, an idealized nude woman examines a mirror that does not reflect her face, but remains as empty as her expression, the indifferent gesture of the nude man nearby, and the carefully rendered ruins in the distance. Text from: www.mfa.org/collections/object/proposition-diurne-la-femm...

Pilgrimage in the Roman Campagna 1848 François Joseph Navez, Belgian, 1787–1869 Dimensions: 62.9 x 83.5 cm (24 3/4 x 32 7/8 in.) Medium or Technique: Oil on panel Classification: Paintings Type: Genre - Exterior Accession Number: 1986.152 Navez, a founder of the modern school of painting in Belgium, studied with French neoclassical master Jacques-Louis David in Paris. In 1817 he received a five-year scholarship to travel in Italy, returning to Belgium in 1822. This painting, also known as Visit to the Miraculous Shrine, was executed in 1848 after Navez had been elected director of the Academy of Fine Arts in Brussels. Navez combines a popular Romantic subject -- peasants in exotic costume -- with the polished surfaces and studied gesture and expression learned from his teacher David. Text from: www.mfa.org/collections/object/pilgrimage-in-the-roman-ca...

Pilgrimage in the Roman Campagna 1848 François Joseph Navez, Belgian, 1787–1869 Dimensions: 62.9 x 83.5 cm (24 3/4 x 32 7/8 in.) Medium or Technique: Oil on panel Classification: Paintings Type: Genre - Exterior Accession Number: 1986.152 Navez, a founder of the modern school of painting in Belgium, studied with French neoclassical master Jacques-Louis David in Paris. In 1817 he received a five-year scholarship to travel in Italy, returning to Belgium in 1822. This painting, also known as Visit to the Miraculous Shrine, was executed in 1848 after Navez had been elected director of the Academy of Fine Arts in Brussels. Navez combines a popular Romantic subject -- peasants in exotic costume -- with the polished surfaces and studied gesture and expression learned from his teacher David. Text from: www.mfa.org/collections/object/pilgrimage-in-the-roman-ca...

Pilgrimage in the Roman Campagna 1848 François Joseph Navez, Belgian, 1787–1869 Dimensions: 62.9 x 83.5 cm (24 3/4 x 32 7/8 in.) Medium or Technique: Oil on panel Classification: Paintings Type: Genre - Exterior Accession Number: 1986.152 Navez, a founder of the modern school of painting in Belgium, studied with French neoclassical master Jacques-Louis David in Paris. In 1817 he received a five-year scholarship to travel in Italy, returning to Belgium in 1822. This painting, also known as Visit to the Miraculous Shrine, was executed in 1848 after Navez had been elected director of the Academy of Fine Arts in Brussels. Navez combines a popular Romantic subject -- peasants in exotic costume -- with the polished surfaces and studied gesture and expression learned from his teacher David. Text from: www.mfa.org/collections/object/pilgrimage-in-the-roman-ca...

Pilgrimage in the Roman Campagna 1848 François Joseph Navez, Belgian, 1787–1869 Dimensions: 62.9 x 83.5 cm (24 3/4 x 32 7/8 in.) Medium or Technique: Oil on panel Classification: Paintings Type: Genre - Exterior Accession Number: 1986.152 Navez, a founder of the modern school of painting in Belgium, studied with French neoclassical master Jacques-Louis David in Paris. In 1817 he received a five-year scholarship to travel in Italy, returning to Belgium in 1822. This painting, also known as Visit to the Miraculous Shrine, was executed in 1848 after Navez had been elected director of the Academy of Fine Arts in Brussels. Navez combines a popular Romantic subject -- peasants in exotic costume -- with the polished surfaces and studied gesture and expression learned from his teacher David. Text from: www.mfa.org/collections/object/pilgrimage-in-the-roman-ca...

Pilgrimage in the Roman Campagna 1848 François Joseph Navez, Belgian, 1787–1869 Dimensions: 62.9 x 83.5 cm (24 3/4 x 32 7/8 in.) Medium or Technique: Oil on panel Classification: Paintings Type: Genre - Exterior Accession Number: 1986.152 Navez, a founder of the modern school of painting in Belgium, studied with French neoclassical master Jacques-Louis David in Paris. In 1817 he received a five-year scholarship to travel in Italy, returning to Belgium in 1822. This painting, also known as Visit to the Miraculous Shrine, was executed in 1848 after Navez had been elected director of the Academy of Fine Arts in Brussels. Navez combines a popular Romantic subject -- peasants in exotic costume -- with the polished surfaces and studied gesture and expression learned from his teacher David. Text from: www.mfa.org/collections/object/pilgrimage-in-the-roman-ca...

Halt at the Spring 1765 François Boucher, French, 1703–1770 Dimensions: 208.6 x 289.9 cm (82 1/8 x 114 1/8 in.) Medium or Technique: Oil on canvas Classification: Paintings Type: Genre - Exterior; Oversize - Horizontal Accession Number: 71.2 Boucher was the most fashionable and influential French artist of the eighteenth century. He painted major decorative ensembles, portraits, landscapes, and mythological scenes, and also designed tapestries, opera sets, porcelains, and book illustrations. Halt at the Spring was originally a smaller religious painting portraying the Rest on the Flight into Egypt, with Mary, Joseph, and the Christ Child at the left. Between 1761 and 1765, the painting was enlarged (the strips of added canvas are visible at the top and sides) and reworked into a picturesque fantasy of peasant life. Text from: www.mfa.org/collections/object/halt-at-the-spring-30845

Halt at the Spring 1765 François Boucher, French, 1703–1770 Dimensions: 208.6 x 289.9 cm (82 1/8 x 114 1/8 in.) Medium or Technique: Oil on canvas Classification: Paintings Type: Genre - Exterior; Oversize - Horizontal Accession Number: 71.2 Boucher was the most fashionable and influential French artist of the eighteenth century. He painted major decorative ensembles, portraits, landscapes, and mythological scenes, and also designed tapestries, opera sets, porcelains, and book illustrations. Halt at the Spring was originally a smaller religious painting portraying the Rest on the Flight into Egypt, with Mary, Joseph, and the Christ Child at the left. Between 1761 and 1765, the painting was enlarged (the strips of added canvas are visible at the top and sides) and reworked into a picturesque fantasy of peasant life. Text from: www.mfa.org/collections/object/halt-at-the-spring-30845

Halt at the Spring 1765 François Boucher, French, 1703–1770 Dimensions: 208.6 x 289.9 cm (82 1/8 x 114 1/8 in.) Medium or Technique: Oil on canvas Classification: Paintings Type: Genre - Exterior; Oversize - Horizontal Accession Number: 71.2 Boucher was the most fashionable and influential French artist of the eighteenth century. He painted major decorative ensembles, portraits, landscapes, and mythological scenes, and also designed tapestries, opera sets, porcelains, and book illustrations. Halt at the Spring was originally a smaller religious painting portraying the Rest on the Flight into Egypt, with Mary, Joseph, and the Christ Child at the left. Between 1761 and 1765, the painting was enlarged (the strips of added canvas are visible at the top and sides) and reworked into a picturesque fantasy of peasant life. Text from: www.mfa.org/collections/object/halt-at-the-spring-30845

The Lamentation 1538 Lucas Cranach, the Elder, German, 1472–1553 Dimensions: 60.3 x 40.0 cm (23 3/4 x 15 3/4 in.) Medium or Technique: Oil on panel Classification: Paintings Type: Religious - New Testament Accession Number: 74.28 A traditionally Catholic subject, the lamentation over the dead Christ is described in the apocryphal gospel of Nicodemus, not in the canonical Bible. Here, Nicodemus holds Mary Magdalene's ointment jar, and Joseph of Arimathea, with the crown of thorns, comforts the mourning Virgin. Saint John supports the dead Christ while Mary Magdalene kneels to kiss the wound on Christ's hand. Despite the religious upheaval in northern Europe, Cranach's Protestantism did not prevent him from accepting commissions for Catholic patrons. Text from: www.mfa.org/collections/object/the-lamentation-30873

The Lamentation 1538 Lucas Cranach, the Elder, German, 1472–1553 Dimensions: 60.3 x 40.0 cm (23 3/4 x 15 3/4 in.) Medium or Technique: Oil on panel Classification: Paintings Type: Religious - New Testament Accession Number: 74.28 A traditionally Catholic subject, the lamentation over the dead Christ is described in the apocryphal gospel of Nicodemus, not in the canonical Bible. Here, Nicodemus holds Mary Magdalene's ointment jar, and Joseph of Arimathea, with the crown of thorns, comforts the mourning Virgin. Saint John supports the dead Christ while Mary Magdalene kneels to kiss the wound on Christ's hand. Despite the religious upheaval in northern Europe, Cranach's Protestantism did not prevent him from accepting commissions for Catholic patrons. Text from: www.mfa.org/collections/object/the-lamentation-30873

The Lamentation 1538 Lucas Cranach, the Elder, German, 1472–1553 Dimensions: 60.3 x 40.0 cm (23 3/4 x 15 3/4 in.) Medium or Technique: Oil on panel Classification: Paintings Type: Religious - New Testament Accession Number: 74.28 A traditionally Catholic subject, the lamentation over the dead Christ is described in the apocryphal gospel of Nicodemus, not in the canonical Bible. Here, Nicodemus holds Mary Magdalene's ointment jar, and Joseph of Arimathea, with the crown of thorns, comforts the mourning Virgin. Saint John supports the dead Christ while Mary Magdalene kneels to kiss the wound on Christ's hand. Despite the religious upheaval in northern Europe, Cranach's Protestantism did not prevent him from accepting commissions for Catholic patrons. Text from: www.mfa.org/collections/object/the-lamentation-30873

The Lamentation 1538 Lucas Cranach, the Elder, German, 1472–1553 Dimensions: 60.3 x 40.0 cm (23 3/4 x 15 3/4 in.) Medium or Technique: Oil on panel Classification: Paintings Type: Religious - New Testament Accession Number: 74.28 A traditionally Catholic subject, the lamentation over the dead Christ is described in the apocryphal gospel of Nicodemus, not in the canonical Bible. Here, Nicodemus holds Mary Magdalene's ointment jar, and Joseph of Arimathea, with the crown of thorns, comforts the mourning Virgin. Saint John supports the dead Christ while Mary Magdalene kneels to kiss the wound on Christ's hand. Despite the religious upheaval in northern Europe, Cranach's Protestantism did not prevent him from accepting commissions for Catholic patrons. Text from: www.mfa.org/collections/object/the-lamentation-30873

The Lamentation 1538 Lucas Cranach, the Elder, German, 1472–1553 Dimensions: 60.3 x 40.0 cm (23 3/4 x 15 3/4 in.) Medium or Technique: Oil on panel Classification: Paintings Type: Religious - New Testament Accession Number: 74.28 A traditionally Catholic subject, the lamentation over the dead Christ is described in the apocryphal gospel of Nicodemus, not in the canonical Bible. Here, Nicodemus holds Mary Magdalene's ointment jar, and Joseph of Arimathea, with the crown of thorns, comforts the mourning Virgin. Saint John supports the dead Christ while Mary Magdalene kneels to kiss the wound on Christ's hand. Despite the religious upheaval in northern Europe, Cranach's Protestantism did not prevent him from accepting commissions for Catholic patrons. Text from: www.mfa.org/collections/object/the-lamentation-30873

Edith, Lady Playfair (Edith Russell) 1884 John Singer Sargent, American, 1856–1925 Dimensions: 152.08 x 98.42 cm (59 7/8 x 38 3/4 in.) Medium or Technique: Oil on canvas Classification: Paintings Accession Number: 33.530 Text from: www.mfa.org/collections/object/edith-lady-playfair-edith-...

Edith, Lady Playfair (Edith Russell) 1884 John Singer Sargent, American, 1856–1925 Dimensions: 152.08 x 98.42 cm (59 7/8 x 38 3/4 in.) Medium or Technique: Oil on canvas Classification: Paintings Accession Number: 33.530 Text from: www.mfa.org/collections/object/edith-lady-playfair-edith-...

Helen Sears 1895 John Singer Sargent, American, 1856–1925 Dimensions: 167.3 x 91.4 cm (65 7/8 x 36 in.) Medium or Technique: Oil on canvas Classification: Paintings Accession Number: 55.1116 Helen Sears was one of two portraits Sargent completed in 1895 when he traveled to Boston to install his first murals at the Boston Public Library. Six-year-old Helen was the daughter of Sarah Choate Sears, a friend and an accomplished photographer, painter, and art patron. Sargent's high viewpoint and tilted perspective serve to silhouette Helen against the dark red carpet, and the creamy tones of her dress and bright illumination of her face lend her an air of childhood innocence, ...belied in part by her wistful mood as she stares solemnly into the distance. Helen had posed for another portrait by Abbott H. Thayer three years earlier and was a frequent subject of her mother's photographs. Sears sent Sargent her photograph of Helen in the same dress and shoes, prompting him to respond that it, "makes me feel like returning to Boston and putting my umbrella through my portrait. But how can an unfortunate painter hope to rival a photograph by a mother? Absolute truth combined with absolute feeling." This text was adapted from an entry by Janet Comey in Erica Hirshler, "Impressionism Abroad: Boston and French Painting," exhibition catalogue, Royal Academy of Arts, 2005. Text from: www.mfa.org/collections/object/helen-sears-33550