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The origins of la belle juive date back to medieval literature. [1] However, the archetype’s full form as known today was established during the 19th century. The appearance of the belle juive is commonly deemed a manifestation of antisemitism on the part of the invoker, primarily because the archetype is commonly employed by non-Jewish artists and authors and is frequently accompanied by ...
The beautiful jewess (La belle juive) Art Gallery of South Australia: 1930 Head: Bronze: 55 x 46 x 27cm [151] [156] Israfel (Sunita) Walker Art Gallery: 1930 Bust: Bronze: 53.3cm [157] [158] More images: Esther: Tate Britain: 1930 Bust: Bronze: 533 x 635 x 254mm [159] Oriel: Aberdeen Art Gallery: 1931 Bust: Bronze: 56 x 42 x 29cm [160] Third ...
Sophie de Bouteiller (June 16, 1829 – 1901), known by her pseudonym Henriette Browne, was a French Orientalist painter.. Renowned internationally during her lifetime for her unconventional approach to Orientalism, Henriette Browne specialized in genre scenes that represented the Near East in a less sensationalized, albeit still exotic, manner than her contemporaries.
In Balzac's Splendeurs et misères des courtisanes, she is the femme fatale or belle juive. [4] In Joseph Méry's 1854 novel Raphaël et la Fornarine, Raphael instead complains to the pope of the lack of blonde female models in Rome. [4] For Baudelaire, hers were "the affections of a courtesan". [16]
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La Juive, 1835 grand opera by ... La belle juive, an artistic motif; Château de la Juive (Juive Castle), Besançon, Franche-Comté, France; All pages with titles ...
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Marie-Louise O'Murphy (French pronunciation: [ma.ʁi.lwiz ɔ‿.myʁ.fi]; 21 October 1737 – 11 December 1814) was a French model who was the youngest lesser mistress (petites maîtresses) of King Louis XV of France, and the model for François Boucher's painting The Blonde Odalisque, also known as The Resting Girl. [1]