Clark Art Institute 4 of 11


Woman Crocheting. French: Pierre-Auguste Renoir (1841-1919). A young woman sits in a middle-class interior 4,582.38 KB
Woman Crocheting. French: Pierre-Auguste Renoir (1841-1919). A young woman sits in a middle-class interior
 Blonde Bather. French: Pierre-Auguste Renoir (1841-1919) 1881. Oil on Canvas. Renoir painted this work while traveling in Italy. The model is probably Aline Charigot, who later became his wife. The simplicity of the composition gives the nude a monumental presence that suggests a timeless image of womanhood. Renoir was inspired in this approach by the ancient Roman and Italian Renaissance art he saw on his trip, which he described as representing eternal beauty. 803.62 KB
Blonde Bather. French: Pierre-Auguste Renoir (1841-1919) 1881. Oil on Canvas. Renoir painted this work while traveling in Italy. The model is probably Aline Charigot, who later became his wife. The simplicity of the composition gives the nude a monumental presence that suggests a timeless image of womanhood. Renoir was inspired in this approach by the ancient Roman and Italian Renaissance art he saw on his trip, which he described as representing "eternal beauty."
 The Bath. French: Berthe Morisot (1841-1895)1885-86. Oil on canvas. Morisot used a light palette and long, broad brushstrokes to record this seemingly spontaneous, private moment. The young woman is actually a family friend who often posed for the artist. She is shown here raising her arms to tie her hair, unselfconscious despite her state of partial undress. Although the painting was widely praised when it was exhibited at eh final Impressionist exhimition in 1886, it remained unsold and was eventually acquired by the artist's friend Claude Monet. 754.06 KB
The Bath. French: Berthe Morisot (1841-1895)1885-86. Oil on canvas. Morisot used a light palette and long, broad brushstrokes to record this seemingly spontaneous, private moment. The young woman is actually a family friend who often posed for the artist. She is shown here raising her arms to tie her hair, unselfconscious despite her state of partial undress. Although the painting was widely praised when it was exhibited at eh final Impressionist exhimition in 1886, it remained unsold and was eventually acquired by the artist's friend Claude Monet.
A venetian Interior. American: John Singer Sargent (1856 - 1925) c. 1880-1882. During several visits to Venice in the 1880s, Sargent chose to paint the everyday lives of its inhabitants rather than the city's landmarks. Some of the women in this dimly lit interior string together Venetian glass beads, while others pause for a moment of convivial conversation. Bright light shines through the windows at the far end of the room, drawing our eyes into the otherwise dark, cool space. 10,056.16 KB
A venetian Interior. American: John Singer Sargent (1856 - 1925) c. 1880-1882. During several visits to Venice in the 1880s, Sargent chose to paint the everyday lives of its inhabitants rather than the city's landmarks. Some of the women in this dimly lit interior string together Venetian glass beads, while others pause for a moment of convivial conversation. Bright light shines through the windows at the far end of the room, drawing our eyes into the otherwise dark, cool space.
 Seated Nude. French: William-Adolphe Bouguereau (1825-1905) 1884. Trained in the academic tradition, Bouguereau viewed the female nude as an ideal subject to display his skill. He rendered this model's complex pose flawlessly, subtly manipulating light and shade to create a convincing illusion of three-dimensional form. The figure's skin appears especially soft and smooth in contrast to the raw earth, jagged rock, and glassy water around her. Such craftsmanship attracted Sterling Clark, who continually praised the artist's technique in his diaries. 2,005.44 KB
Seated Nude. French: William-Adolphe Bouguereau (1825-1905) 1884. Trained in the academic tradition, Bouguereau viewed the female nude as an ideal subject to display his skill. He rendered this model's complex pose flawlessly, subtly manipulating light and shade to create a convincing illusion of three-dimensional form. The figure's skin appears especially soft and smooth in contrast to the raw earth, jagged rock, and glassy water around her. Such craftsmanship attracted Sterling Clark, who continually praised the artist's technique in his diaries.
 Nymphs and Satyr. French: William-Adolphe Bouguereau (1825-1905) 1873. Three nymphs playfully drag a Satyr into a woodland pond, while a fourth calls to her companions in the distance. Satyrs-- half-man, half-goat-- were reputedly unable to swim. Bouguereau exhibited this painting, accompanied by a verse from the Latin poem that inspired it, at the 1873 Paris Salon. Its vaguely classical subject provided an ideal opportunity to demonstrate his skill painting the female nude from multiple viewpoints. An American collector immediately bought the work, which eventually ended up on display in the bar of New York City's Hoffman House, where Sterling Clark first encountered it. 1,892.81 KB
Nymphs and Satyr. French: William-Adolphe Bouguereau (1825-1905) 1873. Three nymphs playfully drag a Satyr into a woodland pond, while a fourth calls to her companions in the distance. Satyrs-- half-man, half-goat-- were reputedly unable to swim. Bouguereau exhibited this painting, accompanied by a verse from the Latin poem that inspired it, at the 1873 Paris Salon. Its vaguely classical subject provided an ideal opportunity to demonstrate his skill painting the female nude from multiple viewpoints. An American collector immediately bought the work, which eventually ended up on display in the bar of New York City's Hoffman House, where Sterling Clark first encountered it.
Charls Gounod 1873. French: Jean-Baptiste Carpeaux (1827-1875) 1873. Charles Gounod was a French composer famous for his operas, including Faust. The turn of the sitter's head and the delicae modeling give the sculptur a sense of vitality and spontaneity, as if it had been made in a single session. In fact Gounod recalled that the bust requred nearly fourteen sittings to complete. 4,108.88 KB
Charls Gounod 1873. French: Jean-Baptiste Carpeaux (1827-1875) 1873. Charles Gounod was a French composer famous for his operas, including Faust. The turn of the sitter's head and the delicae modeling give the sculptur a sense of vitality and spontaneity, as if it had been made in a single session. In fact Gounod recalled that the bust requred nearly fourteen sittings to complete.
 Alexandre Dumas fils 1873. French: Jean-Baptiste Carpeaux (1827-1875) Plaster with terracotta patina. 1,779.15 KB
Alexandre Dumas fils 1873. French: Jean-Baptiste Carpeaux (1827-1875) Plaster with terracotta patina.
 Preparations for the Festivities (The Floral Wreath). Briticsh, Born in Netherlands: Sir Lawrence Alma-Tadema (1836-1912) 1866. Oil on canvas. A man converses with a woman as she threads a garland of flowers. Two servants-- one veiled by a fabric screen on the left-- decorate the Pompeian interior for a celebration. The setting is filled with archaeological details, including a marble fountain with a lion's-head spout and bronze, animal-shaped cups. Scenes like this helped establish Alma-Tadema's reputation as a painter of life in the ancient world. 2,427.31 KB
Preparations for the Festivities (The Floral Wreath). Briticsh, Born in Netherlands: Sir Lawrence Alma-Tadema (1836-1912) 1866. Oil on canvas. A man converses with a woman as she threads a garland of flowers. Two servants-- one veiled by a fabric screen on the left-- decorate the Pompeian interior for a celebration. The setting is filled with archaeological details, including a marble fountain with a lion's-head spout and bronze, animal-shaped cups. Scenes like this helped establish Alma-Tadema's reputation as a painter of life in the ancient world.
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