Matches for: “salon” …

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Mary Cassatt’s sister Lydia sat for The Cup of Tea in 1881. She exhibited the work in the Salon’s Impressionist exhibition the same year.

From the Met:

Taking afternoon tea was a social ritual for many upper-middle-class women. Committed to portraying the ordinary events of everyday life, the artist made that ritual the subject of a series of works painted around 1880, when she had been living abroad for the better part of a decade.

…oh, I get it. Tea’s like nineteenth-century SoulCycle.

family reunion

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When Bazille’s Family Reunion was accepted by the Salon in 1869, he said it was probably admitted “by mistake.”

Yeah, no offense Baz, but SHEESH, this is the most rigid set of family members I have ever seen in a composition.

I will say that I witness a similar scene in just about every room I enter, but not in that “hey, glad you’re here!” kinda way…more like the, “yeah, we’ve been talking ’boutchu” kinda way.

bazille detail

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women in the garden

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Claude Monet’s Women in the Garden nearly stopped me in my tracks at the National Gallery this past weekend. Holy moly, this work is sensational on so many levels.

WITG was painted in 1866. All of the women in the work were modeled by his partnere Camille. Monet submitted the work for the 1867 Salon exhibition, where it was rejected. Apparently, Salon critics were SUPER AGAINST its abundance of visible brushstrokes and lack of narrative: One juror even said:

“Too many young people think of nothing but continuing in this abominable direction. It is high time to protect them and save art!”

Reminds me of that moment in SATC:

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I get it. Monet was like, 26, at the time… ¯\_(ツ)_/¯

With its rejection, Monet turned to his friend Bazille who purchased the work for 2,500 francs (approx. $3M today), to be paid in installments. Scholarship suggests he was inspired by such a large work that he created his own, The Family Reunion, below.

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Thoughhhh this work is creepy enough to deserve its own post later this week.

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I don’t know about you, but I frequently hope for heirs to a cognac fortune to hold my crap while at the theater Anthropologie.

However, James Whistler’s forgetting my preference of several more gentlemen rushing to my every need, and looking MUCH HAPPIER about it.

Nice try, Theodore Duret! Strong eyebrow, though.

(Whistler exhibited this work at the 1885 Salon, where it was hailed as one of the strongest portraits of Duret. I totally agree; he looks way hotter looking inconvenienced by a broad than standing both shadowed and bespectacled.)

so dead.

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Manet’s The Dead Matador is, in fact, a reworked image from a larger composition. Manet got all ticked off because he received a bunch of negative reviews from the Salon. (Some people compared the bull in the background to a mouse because the dude was so large and looming in the foreground.) So, what any normal guy would do, Manet cut the damn canvas and drastically reworked the dead matador and the bullfight into two separate works.

Nice. Because you know what? There’s really nothing more special than burning a bridge, only to build two new ones…very similar to my dating persona lately.

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in the conservatory

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Edouard Manet’s In the Conservatory was exhibited in the 1879 Salon, and was surprisingly well-received by critics. (One of them even said the details were carefully drawn, and depicted the “elegance of fashionable life.”)

uh, wut.

LOOK AT THIS STARE.

No offense, Mme. Guillemet, but you aren’t exactly selling me on a marriage the way you avert your gaze everything away from your husband.

The pleats on this dress though?! Quite fashionable! Maybe the critics weren’t that off-base after all…

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wknd

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Rupert Bunny’s leisurely women were renowned by various Salon critics, but I’m more interested in making this bed scene my entire weekend.

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This little number’s up for auction at Sotheby’s. Ludovic Alleaume’s In the Countryside is estimated to fetch between three and five hundred thousand dollars. I’m just hoping that someone can buy this for me and install it in my walk-in closet or something because hello, these dresses are everything to me.

Alleaume, a Monet contemporary, was influenced on this whole outdoor painting thing. I’m not always a fan of the middle part, but I’m feeling really good about this bright plaid.

You know who is not a fan of the tartan? People who visited the Salon. One translation alludes they would’ve imagined such a bright fashion choice outrageous.

Whatever, guys. Y’all thought that about gaucho pants at first, and they were HUGE.

europe bridge

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Move over, Rainy Day! There’s a new favorite Caillebotte in town.

On the Europe Bridge is from 1876, and was exhibited with the third Impressionist exhibition in the spring of 1877. Monet tag-teamed this train station theme and displayed seven of his Gare Saint-Lazare paintings. (FYI: The GSL is one of the busiest train stations in Paris.)

Lots of Salon critics and scholarship applaud Caillebotte’s attention to the geometrical aspects of the bridge. Even Emile Zola goes ahead and says,

“Caillebotte, a young painter who shows the greatest of courage and does not shrink from tackling modern subjects life-size.”

What’s funny is, when I read this quote, I can really only think of this:Caillebotte_BackstreetBoys.jpg

 

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dorrance wright

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Is there anything better than an exposed clavicle? I think not!

Mary Cassatt exhibited this work at the Salon in 1879. It ended up in the hands of Alexis Rouart, and was passed along his various heirs until it was acquired by the Philadelphia Museum of Art, thanks to the Dorrance Wright Collection.

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Well, guess what? The same collection gave the PMA its first GauguinSweet Christ, things are getting gauguinmossroses.gifbetter and better. Why don’t you go ahead and tell me Charlotte Dorrance plans to cancel Christmas?

At least she had some sense and had a work that was “pre-Yellow House,” when Gauguin really showed his true colors of being a gossipy high school girl.

OR WORSE, TAHITI!