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Frédéric Bazille
Jean Frédéric Bazille (December 6, 1841 – November 28, 1870) was a French Impressionist painter. Many of Bazille's major works are examples of figure painting in which he placed the subject figure within a landscape painted ''en plein air''. Life and work Frédéric Bazille was born in Montpellier, Hérault, Languedoc-Roussillon, France, into a wealthy wine merchant Protestant family. Bazille grew up in the Le Domaine de Méric, a wine-producing estate in Castelnau-le-Lez, near Montpellier, owned by his family. He became interested in painting after seeing some works of Eugène Delacroix. His family agreed to let him study painting, but only if he also studied medicine. Bazille began studying medicine in 1859, and moved to Paris in 1862 to continue his studies. There he met Pierre-Auguste Renoir and Alfred Sisley, was drawn to Impressionist painting, and began taking classes in Charles Gleyre's studio. After failing his medical exam in 1864, he began painting full-time. His ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
The Pink Dress
''The Pink Dress'' (''La robe rose'') is an oil-on-canvas painting by Frédéric Bazille, produced in 1864 when he was aged 23. The work is now in the Musée d'Orsay, in Paris. Dimensions and conservation The dimensions of the canvas, kept at the Musée d'Orsay, are a height of 147 cm by a width of 110 cm. Overview The painting is an ''en plein air'' painting of Bazille's cousin Thérèse des Hours, sitting on the stone ledge around the family property of Le Domaine de Méric in Montpellier, facing the village of Castelnau-le-Lez in the Hérault department of southern France. The Bazille and des Hours families used to spend every summer on the estates which overlooked the village. Thérèse is sitting on the terrace at the far end of the garden, facing away from the viewer. She is wearing a dress with vertical pink and silver stripes, with a black apron. Bazille frames the middle ground with trees, a typical technique of the Barbizon School, using darkness of t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Art Institute Of Chicago
The Art Institute of Chicago in Chicago's Grant Park, founded in 1879, is one of the oldest and largest art museums in the world. Recognized for its curatorial efforts and popularity among visitors, the museum hosts approximately 1.5 million people annually. Its collection, stewarded by 11 curatorial departments, is encyclopedic, and includes iconic works such as Georges Seurat's ''A Sunday on La Grande Jatte'', Pablo Picasso's ''The Old Guitarist'', Edward Hopper's '' Nighthawks'', and Grant Wood's '' American Gothic''. Its permanent collection of nearly 300,000 works of art is augmented by more than 30 special exhibitions mounted yearly that illuminate aspects of the collection and present cutting-edge curatorial and scientific research. As a research institution, the Art Institute also has a conservation and conservation science department, five conservation laboratories, and one of the largest art history and architecture libraries in the country—the Ryerson and B ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Édouard Manet
Édouard Manet (, ; ; 23 January 1832 – 30 April 1883) was a French modernist painter. He was one of the first 19th-century artists to paint modern life, as well as a pivotal figure in the transition from Realism to Impressionism. Born into an upper-class household with strong political connections, Manet rejected the naval career originally envisioned for him; he became engrossed in the world of painting. His early masterworks, ''The Luncheon on the Grass'' (''Le déjeuner sur l'herbe'') and '' Olympia'', both 1863, caused great controversy and served as rallying points for the young painters who would create Impressionism. Today, these are considered watershed paintings that mark the start of modern art. The last 20 years of Manet's life saw him form bonds with other great artists of the time; he developed his own simple and direct style that would be heralded as innovative and serve as a major influence for future painters. Early life Édouard Manet was born in Par ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
The Family Reunion (painting)
''The Family Reunion'' or ''Portraits of the Family'' is an oil-on-canvas painting executed in 1867 by the French painter Frédéric Bazille. It is the largest surviving canvas (152 by 230 cm) by this artist. It is now in the collection of the Musée d'Orsay in Paris. Description The painter took inspiration to create this painting from a meeting that took place at his residence in Méric, near Montpellier, in the summer of 1867. Under the shade of a large chestnut tree, on a sunny day, which enhances the variations between light and shade, Bazille represents his parents seated on a bench, on the left. On the terrace also depicted are his uncle Eugéne des Hours and wife, his cousin Pauline with her husband Émile Teulon, and his brother Marc with his wife Suzanne and another cousin, Camille, back from a walk. The author depiction of himself, at the far left, behind his seated parents, was only included in the composition later. The women's dresses in light blue with navy blu ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Autoportrait (Bazille)
A self-portrait is a representation of an artist that is drawn, painted, photographed, or sculpted by that artist. Although self-portraits have been made since the earliest times, it is not until the Early Renaissance in the mid-15th century that artists can be frequently identified depicting themselves as either the main subject, or as important characters in their work. With better and cheaper mirrors, and the advent of the panel portrait, many painters, sculptors and printmakers tried some form of self-portraiture. ''Portrait of a Man in a Turban'' by Jan van Eyck of 1433 may well be the earliest known panel self-portrait. He painted a separate portrait of his wife, and he belonged to the social group that had begun to commission portraits, already more common among wealthy Netherlanders than south of the Alps. The genre is venerable, but not until the Renaissance, with increased wealth and interest in the individual as a subject, did it become truly popular. [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Aigues-Mortes
Aigues-Mortes (; oc, Aigas Mòrtas) is a commune in the Gard department in the Occitania region of southern France. The medieval city walls surrounding the city are well preserved. Situated on the junction of the Canal du Rhône à Sète and the Chenal Maritime to Le Grau-du-Roi, the town is a transit center for canal craft and Dutch barges. Toponymy The name "Aigues-Mortes" was attested in 1248 in the Latinized form ', which means "dead water", or "stagnant water". The name comes from the marshes and ponds that surround the village (which has never had potable water). The inhabitants of the commune are known as ''Aigues-Mortais'' or ''Aigues-Mortaises''. The Occitan ' is equivalent to toponymic types in the Morteau Oil dialect cf. Morteau (Doubs): ''mortua Aqua'' (1105, VTF521) and Morteaue (Haute-Marne): ''mortua Aqua'' (1163, VTF521). in French means "pond of the King". In Occitan, ' means "pond with extension". History Antiquity The Roman general Gaius Mari ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Musée Fabre
The Musée Fabre is a museum in the southern French city of Montpellier, capital of the Hérault ''département''. The museum was founded by François-Xavier Fabre, a Montpellier painter, in 1825. Beginning in 2003, the museum underwent a 61.2 million euro renovation, which was completed in January 2007. It is one of the main sights of Montpellier and close to the city's main square, the Place de la Comédie. The museum's national importance is recognised by it being classified as a ''Musée de France'' by the French Ministry of Culture. History The town of Montpellier was given thirty paintings in 1802 which formed the basis of a modest municipal museum under the Empire, moving between various temporary sites. In 1825, the town council accepted a large donation of works from Fabre and the museum was installed in the refurbished ''Hôtel de Massillian'', officially opened on 3 December 1828. Fabre's generosity led others to follow his example, notably Antoine Valedau who donat ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Studio On Rue Furstenberg
''Atelier de la rue Furstenberg'' (''Studio on Rue Furstenberg'') is an 1866 oil-on-canvas painting by the 19th century French impressionist artist Frédéric Bazille, which has been in the collection of the Musée Fabre in Montpellier, France since 1985. Overview Depictions of artist's studios was a popular genre of the early 19th century. This 1866 painting depicts the studio Bazille was sharing with Claude Monet at 6 Place de Furstenburg in the 6th arrondissement of Paris in January 1866. It was located near the center of Paris, on the Left Bank, near the Ecole des Beaux-Arts and within walking distance of the Louvre. After Bazille arrived in Paris in 1864, he initially had no studio of his own and had to borrow from a friend and lodge elsewhere. However, with financial support from his parents, he found a studio with two attached bedrooms which would allow him to save time and money by living and working at the same place. Monet was already familiar with the place having ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Battle Of Beaune-la-Rolande
The Battle of Beaune-la-Rolande on 28 November 1870 was a battle of the Franco-Prussian War, won by Prussia. In an attempt to relieve the Siege of Paris, French General Crouzat's XX Corps launched an attack against three Prussian brigades resting in Beaune-la-Rolande. These brigades were from the Prussian X Corps which was detailed to guard the flanks and rear of the force besieging Paris and provide early warning of any French counter-attacks. The French committed a force of 60,000 men, largely conscripts of the Garde Mobile, and 140 guns against the Prussians' 9,000 men and 70 guns, mostly drawn from regular troops. Despite the overwhelming superiority of numbers the French attack failed to take the village and was ultimately forced to retreat by Prussian reinforcements. Prussian losses amounted to 817 soldiers and 37 officers with the French losing around 8,000 men and 100 taken prisoner. The French XX Corps changed its plan of attack, bypassing the village, but was unsucce ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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