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La Femme au Cheval is an oil painting on canvas with dimensions 162 × 130.5 cm (63.8 × 51.4 in). As the title indicates the painting represents a woman and a horse. The rather elegant woman wearing only a pearl necklace and the horse are immersed in a landscape with trees and a window (in the 'background'), a vase, with fruits and vegetation (in the 'foreground') clearly taken from the ...
Millet's The Gleaners was preceded by a vertical painting of the image in 1854 and an etching in 1855. Millet unveiled The Gleaners at the Salon in 1857. It immediately drew negative criticism from the middle and upper classes, who viewed the topic with suspicion: one art critic, speaking for other Parisians, perceived in it an alarming intimation of "the scaffolds of 1793."
Paul Bilhaud, Combat de nègres pendant la nuit, 1882 Monochrome painting was initiated at the first Incoherents exhibition in Paris in 1882, with a black painting by the poet Paul Bilhaud entitled Combat de Nègres pendant la nuit ("Battle of negroes during the night"), which had been missing since 1882 when it was rediscovered in a private collection in 2017–2018. [2]
Works such as Black Iris III (1926) evoke a veiled representation of female genitalia while also accurately depicting the center of an iris. [12] Alfred Stieglitz, O'Keeffe's husband who promoted her works of art, first espoused the theory that the paintings represented a woman's vulva in the 1920s.
The woman at right wears white dress, red shawl draped on back of sofa and the woman at center wears black dress. Glowing light shines at left near music stand/vase of white flowers. SIRIS Collection Number 89170099 [3] Portrait of Alexander Pope: oil on canvas: 1892: 22.5 in x 19.3 in (57.2 cm x 49 cm) SIRIS Collection Number 89170056 [3 ...
The painting shows a nude, redheaded woman riding a black, frenetic horse. The horse bares its teeth, its tongue hanging out. Its nostrils are dilated and foam runs from its mouth. The woman riding the horse tightly clasps its neck with her eyes closed, her loose hair fanning out and flowing upwards to mingle with the horse's mane.
Woman in the Garden (1877) The Lady in White may have been made en plein air, but the composition was given careful thought, as a number of drawings were made beforehand as a study. Art historian Laurent Manoeuvre describes one preparatory study for the painting, a drawing in black ink, [β] as being influenced by the style of Ingres. [8]
The painting depicts two women, one black and one white, sitting next to each other covered in beauty patches. The painting is unusual for the time in its depiction of the sitters as equals. [2] [3] The women are presented as companions with similar dress, makeup, hair, and jewelry. The work was created circa 1650 and subverts traditional ...