On permanent loan from the Museo del Prado, Madrid. Shown installed in the Spanish Pavilion of the Paris Exposition, 1937. (122 292 196 cm). In the foreground: Alexander Calders Fontaine de Mercure (Mercury Fountain), 1937, Mercury, sheet metal, wire rod, pitch, and paint, 44 115 77 Fundacio Joan Miro, Barcelona.
Art History, 4th ed., Upper Saddle River, N. J.: Pearson Education, 2010 (9780205800377)
The Alfred Stieglitz Collection, 1949 (49.70.42).
Museum purchase from the Jere Abbott Acquisitions Fund.
Gift of T. B. Walker Collection, Gilbert M. Walter Fund, 1942.
A Sunday Afternoon on the Island of La Grande Jatte
Acquired through the Lillie P. Bliss Bequest (176.1945).
Acquired through the Lillie P. Bliss Bequest (472.1941).
The George W. Elkins Collection. In the early sketches for this work, the mans face was visible. The decision to cover it focuses more attention not only on the victim, but also on the true hero, the mechanical apparatus known as the breeches buoy..
Eakins, who taught anatomy and figure drawing at the Pennsylvania Academy of the Fine Arts, disapproved of the academic technique of drawing from plaster casts. In 1879, he said, At best, they are only imitations, and an imitation of an imitation cannot have so much life as an imitation of nature itself. He added, The Greeks did not study the antique the draped figures in the Parthenon pediment were modeled from life, undoubtedly.
Le Dejeuner Sur LHerbe (The Luncheon On the Grass)
During Napoleons campaigns against the British in North Africa, the French discovered the exotic Near East. Upper-middle-class European men were particularly attracted to the institution of the harem, partly as a reaction against the egalitarian demands of women of their own class that had been unleashed by the French Revolution.
A Burial at Ornans was inspired by the 1848 funeral of Courbets maternal grandfather, Jean-Antoine Oudot, a veteran of the Revolution of 1789.The painting is not meant as a record of that particular funeral, however, since Oudot is shown alive in profile at the extreme left of the canvas, his image adapted by Courbet from an earlier portrait. The two men to the right of the open grave, dressed not in contemporary but in late eighteenth-century clothing, are also revolutionaries of Oudots generation. Their proximity to the grave suggests that one of their peers is being buried. Courbets picture may be interpreted as linking the revolutions of 1789 and 1848, both of which sought to advance the cause of democracy in France.
Acquired by Sterling and Francine Clark, 1942. 1955.51.
Liberty Leading the People: July 28, 1830
Gift of Mrs. Russell Sage, 1908 (08.228).
The Burning of the Houses of Lords and Commons, 16Th October 1834
The John Howard McFadden Collection, 1928.
Slavers Throwing Overboard the Dead and DyingTyphoon Coming On (The Slave Ship)
Cornelia Pointing To Her Children as Her Treasures
The Adolph D. and Wilkins C. Williams Fund.
David flattered Napoleon by reminding the viewer of two other great generals from history who had led armies across the AlpsCharlemagne and Hannibalby inscribing the names of all three in the rock in the lower left.
Gift of Julia A. Berwind, 1953 (53.225.5).
Portrait of Marie Antoinette with Her Children
As the favorite painter to the queen, Vigee-Lebrun escaped from Paris with her daughter on the eve of the Revolution of 1789 and fled to Rome. After a very successful self-exile working in Italy, Austria, Russia, and England, the artist finally resettled in Paris in 1805 and again became popular with Parisian art patrons. Over her long career, she painted about 800 portraits in a vibrant style that changed very little over the decades.
The Village Bride, or The Marriage, the Moment when a Father Gives His Son-In-Law a Dowry
Purchase, 1956. Chardin was one of the first French artists to treat the lives of women and children with sympathy and to portray the dignity of womens work in his images of young mothers, governesses, and kitchen maids. Shown at the Salon of 1739, The Governess was praised by contemporary critics, one of whom noted the graciousness, sweetness, and restraint that the governess maintains in her discipline of the young man about his dirtiness, disorder, and neglect
all are expressed with great simplicity..
Gift of Mr. and Mrs. Bert Smokler and Mr. and Mrs. Lawrence A. Fleischmann. Fuseli was not popular with the English critics. One writer said that his 1780 entry in the London Royal Academy exhibition ought to be destroyed, and Horace Walpole called another painting in 1785 shockingly mad, mad, mad, madder than ever. Even after achieving the highest official acknowledgment of his talents, Fuseli was called the Wild Swiss and Painter to the Devil. But the public appreciated his work, and The Nightmare, exhibited at the Royal Academy in 1782, was repeated in at least three more versions and its imagery was disseminated through prints published by commercial engravers. One of these prints would later hang in the office of the Austrian psychoanalyst Sigmund Freud, who believed that dreams were manifestations of the dreamers repressed desires.
Transfer from the Canadian War Memorials, 1921. Gift of the 2nd Duke of Westminster, Eaton Hall, Cheshire, 1918. The famous actor David Garrick was so moved by this painting that he enacted an impromptu interpretation of the dying Wolfe in front of the work when it was exhibited at the Royal Academy.
Zoffanys group portrait of members of the London Royal Academy reveals how mainstream artists were taught in the 1770s. The painting shows artists, all men, setting up a life-drawing class and engaging in lively conversation. The studio is decorated with the Academys study collection of Classical statues and plaster copies. Propriety prohibited the presence of women in life-drawing studios, so Zoffany includes Royal Academicians Mary Moser and Angelica Kauffmann in portraits on the wall on the right.
Robert Andrews and Frances Carter (Mr. and Mrs. Andrews)
Lady Sarah Bunbury Sacrificing To the Graces
Mr. and Mrs. W. W. Kimball Collection, 1922.4468.
The Doge's Palace and the Riva Degli Schiavoni
Landscape With St. Matthew and the Angel
Thomas Mifflin and Sarah Morris (Mr. and Mrs. Mifflin)
Gift of the Ahmanson Foundation (M. 77.73).
Louis XIV had ordered this portrait as a gift for his grandson, the future Philip V of Spain (r. 17001746), but when Rigaud finished the painting, Louis liked it too much to give it away and only three years later ordered a copy from Rigaud to give to his grandson. The request for copies of royal portraits was not unusual since the aristocratic families of Europe were linked through marriage. Paintings made appropriate gifts and at the same time memorialized important political alliances by recording them in visual form.
View of Haarlem from the Dunes at Overveen
Architects Daniel Stalpaert and Elias Bouman built the synagogue in 16711675.
The Johan Maurits van Nassau Foundation.
Henry Iv Receiving the Portrait of Marie De Medici
The Company of Captain Frans Banning Cocq (The Night Watch)
Gift of Mr. and Mrs. Robert Woods Bliss.
Officers of the Haarlem Militia Company of St. Adrian
The Raising of the Cross (Left Wing, Center Panel, and Right Wing)
Painted for the Church of St. Walburga, Antwerp, Belgium.