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Title: Jeanne (Spring) Artist/Maker: Édouard Manet (French, 1832 - 1883) Culture: French Place: France (Place created) Date: 1881 Medium: Oil on canvas Dimensions: 74 × 51.5 cm (29 1/8 × 20 1/4 in.) Signed: Signed and dated, lower left: "Manet" Alternate Titles: Spring (Jeanne Demarsy) (Translated Title) Department: Paintings Classification: Paintings Object Type: Painting Object Number: 2014.62 A chic young woman in a day dress with floral accents holds a parasol against a background of exuberant foliage. She looks straight ahead, a picture of poise and detachment even as she seems fully aware of the viewer's admiring gaze. Representing aspiring Parisian actress Jeanne Demarsy as the embodiment of Spring, this portrait debuted at the last major public exhibition of Manet's life, the Paris Salon of 1882. For more than two decades, Manet's paintings were rejected by the Salon or met with controversy; Spring was the most unalloyed success of the artist's Salon career, a career that ended tragically a year later when Manet died of causes related to syphilis. Appealing to critics primarily on account of Jeanne's charm, Spring also showcased Manet's mastery of his medium. The painting exhibits a marvelous range of brushwork, from the thin, delicate floral touches on the dress to the smooth handling of Jeanne's face and the broad, sketch-like strokes of the backdrop. The painting's sensual handling and bright, vibrant palette evoke the pleasures of the season it celebrates. When composing Spring, Manet had in view both the latest fashion trends and old artistic traditions. An avid connoisseur of feminine couture, he pieced together Jeanne's ensemble himself by scouring dressmakers' and milliners' shops. Posing his model in the studio, however, he referred to portrait conventions of the early Italian Renaissance, presenting her half-length, in profile, and against a mass of greenery. More than just an ephemeral "fashion-plate," Manet's archetypal Spring was conceived as a picture for the ages, summarizing his modern epoch through the figure of a beautiful Parisienne. Text from: www.getty.edu/art/collection/objects/268843/edouard-manet-jeanne-spring-french-1881

Title: Jeanne (Spring) Artist/Maker: Édouard Manet (French, 1832 - 1883) Culture: French Place: France (Place created) Date: 1881 Medium: Oil on canvas Dimensions: 74 × 51.5 cm (29 1/8 × 20 1/4 in.) Signed: Signed and dated, lower left: "Manet" Alternate Titles: Spring (Jeanne Demarsy) (Translated Title) Department: Paintings Classification: Paintings Object Type: Painting Object Number: 2014.62 A chic young woman in a day dress with floral accents holds a parasol against a background of exuberant foliage. She looks straight ahead, a picture of poise and detachment even as she seems fully aware of the viewer's admiring gaze. Representing aspiring Parisian actress Jeanne Demarsy as the embodiment of Spring, this portrait debuted at the last major public exhibition of Manet's life, the Paris Salon of 1882. For more than two decades, Manet's paintings were rejected by the Salon or met with controversy; Spring was the most unalloyed success of the artist's Salon career, a career that ended tragically a year later when Manet died of causes related to syphilis. Appealing to critics primarily on account of Jeanne's charm, Spring also showcased Manet's mastery of his medium. The painting exhibits a marvelous range of brushwork, from the thin, delicate floral touches on the dress to the smooth handling of Jeanne's face and the broad, sketch-like strokes of the backdrop. The painting's sensual handling and bright, vibrant palette evoke the pleasures of the season it celebrates. When composing Spring, Manet had in view both the latest fashion trends and old artistic traditions. An avid connoisseur of feminine couture, he pieced together Jeanne's ensemble himself by scouring dressmakers' and milliners' shops. Posing his model in the studio, however, he referred to portrait conventions of the early Italian Renaissance, presenting her half-length, in profile, and against a mass of greenery. More than just an ephemeral "fashion-plate," Manet's archetypal Spring was conceived as a picture for the ages, summarizing his modern epoch through the figure of a beautiful Parisienne. Text from: www.getty.edu/art/collection/objects/268843/edouard-manet-jeanne-spring-french-1881

Title: Still Life with Apples Artist/Maker: Paul Cézanne (French, 1839 - 1906) Culture: French Place: France (Place created) Date: 1893 - 1894 Medium: Oil on canvas Dimensions: 65.4 × 81.6 cm (25 3/4 × 32 1/8 in.) Alternate Titles: Stillleben mit Äpfeln (Published Title) Still Life with Apples (Nature morte avec pommes) (Published Title) Department: Paintings Classification: Paintings Object Type: Painting Object Number: 96.PA.8 During the last thirty years of his life, Paul Cézanne painted the same objects--the green vase, the rum bottle, the ginger pot, and the apples--over and over again. His interest was not in the objects themselves but in using them to experiment with shape, color, and lighting. He arranged his still lifes so that everything locked together. Edges of objects run into each other; for example, a black arabesque seemingly escapes from the blue cloth to capture an apple in the center; the sinuous curves of the blue ginger pot's rattan straps merge with other straps on the body of the bottle behind. Giving form and mass to objects through the juxtaposition of brushstrokes and carefully balanced colors and textures, he gave the painting a sense of comforting stability. Text from: www.getty.edu/art/collection/objects/102380/paul-cezanne-still-life-with-apples-french-1893-1894

Title: Still Life with Apples Artist/Maker: Paul Cézanne (French, 1839 - 1906) Culture: French Place: France (Place created) Date: 1893 - 1894 Medium: Oil on canvas Dimensions: 65.4 × 81.6 cm (25 3/4 × 32 1/8 in.) Alternate Titles: Stillleben mit Äpfeln (Published Title) Still Life with Apples (Nature morte avec pommes) (Published Title) Department: Paintings Classification: Paintings Object Type: Painting Object Number: 96.PA.8 During the last thirty years of his life, Paul Cézanne painted the same objects--the green vase, the rum bottle, the ginger pot, and the apples--over and over again. His interest was not in the objects themselves but in using them to experiment with shape, color, and lighting. He arranged his still lifes so that everything locked together. Edges of objects run into each other; for example, a black arabesque seemingly escapes from the blue cloth to capture an apple in the center; the sinuous curves of the blue ginger pot's rattan straps merge with other straps on the body of the bottle behind. Giving form and mass to objects through the juxtaposition of brushstrokes and carefully balanced colors and textures, he gave the painting a sense of comforting stability. Text from: www.getty.edu/art/collection/objects/102380/paul-cezanne-still-life-with-apples-french-1893-1894

Title: Still Life with Apples Artist/Maker: Paul Cézanne (French, 1839 - 1906) Culture: French Place: France (Place created) Date: 1893 - 1894 Medium: Oil on canvas Dimensions: 65.4 × 81.6 cm (25 3/4 × 32 1/8 in.) Alternate Titles: Stillleben mit Äpfeln (Published Title) Still Life with Apples (Nature morte avec pommes) (Published Title) Department: Paintings Classification: Paintings Object Type: Painting Object Number: 96.PA.8 During the last thirty years of his life, Paul Cézanne painted the same objects--the green vase, the rum bottle, the ginger pot, and the apples--over and over again. His interest was not in the objects themselves but in using them to experiment with shape, color, and lighting. He arranged his still lifes so that everything locked together. Edges of objects run into each other; for example, a black arabesque seemingly escapes from the blue cloth to capture an apple in the center; the sinuous curves of the blue ginger pot's rattan straps merge with other straps on the body of the bottle behind. Giving form and mass to objects through the juxtaposition of brushstrokes and carefully balanced colors and textures, he gave the painting a sense of comforting stability. Text from: www.getty.edu/art/collection/objects/102380/paul-cezanne-still-life-with-apples-french-1893-1894

Title: Young Italian Woman at a Table Artist/Maker: Paul Cézanne (French, 1839 - 1906) Culture: French Place: France (Place created) Date: about 1895 - 1900 Medium: Oil on canvas Dimensions: 92.1 × 73.5 cm (36 1/4 × 28 15/16 in.) Alternate Titles: Jeune Italienne Accoudée (Alternate Title) Department: Paintings Classification: Paintings Object Type: Painting Object Number: 99.PA.40 Leaning on a fabric-covered table and resting her head in her hand, this young woman looks out with an enigmatic expression. Since the Renaissance, artists have used this pose to portray melancholy. The pose, combined with her hauntingly unreadable face, gives a human poignancy and psychological tension to the figure. Juxtaposing bold, individual strokes of color, Paul Cézanne built up the woman's powerful physical presence and the space she occupies. As a twentieth-century painter and admirer of Cézanne observed, his later works, such as Young Italian Woman, have "an enormous sense of volume, breathing, pulsating, expanding, contracting, through his use of colors." While the woman's form is convincing, the space behind and around her can appear contradictory and even confusing. How far away is the wall? Is the tabletop flat underneath the cloth? Does she sit or stand? These questions give tension and movement to an otherwise stable composition. From the 1890s until the end of his life, Cézanne painted a number of these grand figure studies, usually relying upon local workers or residents for his models. Text from: www.getty.edu/art/collection/objects/127911/paul-cezanne-young-italian-woman-at-a-table-french-about-1895-1900

Title: Young Italian Woman at a Table Artist/Maker: Paul Cézanne (French, 1839 - 1906) Culture: French Place: France (Place created) Date: about 1895 - 1900 Medium: Oil on canvas Dimensions: 92.1 × 73.5 cm (36 1/4 × 28 15/16 in.) Alternate Titles: Jeune Italienne Accoudée (Alternate Title) Department: Paintings Classification: Paintings Object Type: Painting Object Number: 99.PA.40 Leaning on a fabric-covered table and resting her head in her hand, this young woman looks out with an enigmatic expression. Since the Renaissance, artists have used this pose to portray melancholy. The pose, combined with her hauntingly unreadable face, gives a human poignancy and psychological tension to the figure. Juxtaposing bold, individual strokes of color, Paul Cézanne built up the woman's powerful physical presence and the space she occupies. As a twentieth-century painter and admirer of Cézanne observed, his later works, such as Young Italian Woman, have "an enormous sense of volume, breathing, pulsating, expanding, contracting, through his use of colors." While the woman's form is convincing, the space behind and around her can appear contradictory and even confusing. How far away is the wall? Is the tabletop flat underneath the cloth? Does she sit or stand? These questions give tension and movement to an otherwise stable composition. From the 1890s until the end of his life, Cézanne painted a number of these grand figure studies, usually relying upon local workers or residents for his models. Text from: www.getty.edu/art/collection/objects/127911/paul-cezanne-young-italian-woman-at-a-table-french-about-1895-1900

Title: Young Italian Woman at a Table Artist/Maker: Paul Cézanne (French, 1839 - 1906) Culture: French Place: France (Place created) Date: about 1895 - 1900 Medium: Oil on canvas Dimensions: 92.1 × 73.5 cm (36 1/4 × 28 15/16 in.) Alternate Titles: Jeune Italienne Accoudée (Alternate Title) Department: Paintings Classification: Paintings Object Type: Painting Object Number: 99.PA.40 Leaning on a fabric-covered table and resting her head in her hand, this young woman looks out with an enigmatic expression. Since the Renaissance, artists have used this pose to portray melancholy. The pose, combined with her hauntingly unreadable face, gives a human poignancy and psychological tension to the figure. Juxtaposing bold, individual strokes of color, Paul Cézanne built up the woman's powerful physical presence and the space she occupies. As a twentieth-century painter and admirer of Cézanne observed, his later works, such as Young Italian Woman, have "an enormous sense of volume, breathing, pulsating, expanding, contracting, through his use of colors." While the woman's form is convincing, the space behind and around her can appear contradictory and even confusing. How far away is the wall? Is the tabletop flat underneath the cloth? Does she sit or stand? These questions give tension and movement to an otherwise stable composition. From the 1890s until the end of his life, Cézanne painted a number of these grand figure studies, usually relying upon local workers or residents for his models. Text from: www.getty.edu/art/collection/objects/127911/paul-cezanne-young-italian-woman-at-a-table-french-about-1895-1900