2018 Posing Modernity: The Black Model from Manet and Matisse to Today, Miriam and Ira D. 2016 Frédéric Bazille (1841-1870) and The Birth of Impressionism, Musée Fabre, Montpelier Musée d'Orsay, Paris National Gallery of Art, Washington, 2016-2017, no. 2015 Delacroix and the Rise of Modern Art, Minneapolis Institute of Art National Gallery, London, 2015-2016, no. 2011 Impressionist and Post-Impressionist Masterpieces from the National Gallery of Art, The Museum of Fine Arts, Houston The National Art Center, Tokyo Kyoto Municipal Museum of Art, 2011, no. 1999 Faces of Impressionism: Portraits from American Collections", The Baltimore Museum of Art The Museum of Fine Arts, Houston The Cleveland Museum of Art, 1999-2000, no. Paul Mellon, National Gallery of Art, Washington, 1986, unnumbered checklist 1986 Impressionist and Post-Impressionist Masterpieces from the National Gallery of Art, Washington, State Hermitage Museum, Leningrad State Pushkin Museum of Fine Arts, Moscow, 1986, no. 1986 Gifts to the Nation: Selected Acquisitions from the Collections of Mr. Mellon Bruce, National Gallery of Art, Washington, 1966, no. 37 1966 French Paintings from the Collections of Mr. 1959 Frédéric Bazille, Musée Fabre, Montpellier, 1959, no. 1958 Des Primitifs à Nicolas de Stael: Belles Peintures de collections privées de la région montpelliéraine, Musée Fabre, Montpellier, 1958, no. 55 1955 Mostra di Capolavori Della Pittura Francese Dell'Ottocento, Palazzo Strozzi, Florence, 1955, no. 1941 Centenaire de Frédéric Bazille, Musée Fabre, Montpellier, 1941, no. 1937 La Naissance de l'impressionisme, Galerie des Beaux-Arts, Paris, 1937, no. 1935 Frederic Bazille, Association des Etudiants Protestants de Paris, Paris, 1935, no. Extending his modest tribute to the debonair leader of the avant–garde, Bazille's composition also alludes to one of Manet's most celebrated and notorious works, Olympia (Musée d'Orsay, Paris), in which a black servant offers a floral tribute to a naked prostitute.Įxhibition History 1927 Rétrospective Bazille, Exposition internationale de Montpellier, May-June 1927, no. The proffered peonies, flowers cultivated by Manet and the subject of a series of still lifes he painted in 1864–1865, are firmly portrayed in a manner reminiscent of Manet. Avoiding anecdotal specificity, the woman in the National Gallery painting is posed as a vendor extending a clutch of peonies chosen from her basket laden with seasonal blooms. Bazille's output was cut short when he was killed in 1870 during the Franco–Prussian War.Įarly in the summer of 1870, before the outbreak of war, Bazille painted two similar works depicting a black woman with a lush array of flowers. Working in close harmony, they gradually invented impressionism. Attracted by the modernist tendencies of avant–garde art, the four abandoned the studio in favor of direct observation of nature. He joined the academic teaching studio run by Charles Gleyre, where he met Monet, Renoir, and Sisley. In 1862, Bazille arrived in Paris to study both medicine, at his parents' insistence, and art, his preference. The artist prominently signed and dated the work with red letters near the upper right corner, near the woman’s head: “F. The woman and basket are shown against a dove-gray background. Her basket is filled with yellow and red tulips, pink roses, white and purple lilac, and other white, pink, yellow, and blue flowers, and it takes up the bottom third of the composition. She reaches her right arm, on our left, toward us with a bouquet of three pink-and-white peonies and greenery. Her full mouth is closed, the corners faintly downturned. Her brow is slightly furrowed, and she looks at us with large, dark eyes. She wears coral-red earrings, and a plaid cloth in tones of rust red, slate blue, pale purple, and black is tied tightly over her black hair, which is visible over her ears. She wears a cream-white, long-sleeved blouse with scalloped trim around the high neck. The basket holding the flowers spans the width of the canvas, and the woman is shown behind it from the chest up. Holding a bunch of peonies in one hand, a woman with brown skin leans forward, toward us from behind a large basket holding dozens of flowers in this horizontal painting.
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