Art and autoradiography: Insights into the genesis of by Metropolitan Museum of Art, Maryan Wynn Ainsworth

By Metropolitan Museum of Art, Maryan Wynn Ainsworth

Result of a systematic research of the substructure of thirty-nine work within the Metropolitan Museum's collections.

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Extra resources for Art and autoradiography: Insights into the genesis of paintings by Rembrandt, Van Dyck, and Vermeer

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This is the first time Manet directly combines reality with the world in the painting to bring the viewer into the composition he created. qxp 17/11/2009 3:31 PM Page 43 praised by critics of the 1869 Salon. All are painted with such precision in handling and arranged in so harmonious a fashion that Manet may in truth rival the seventeenth-century Dutch masters or Chardin. One not immediately obvious detail completes the impression of warm intimacy: the black cat at the servant’s feet, against the background of her grey dress.

His perseverance with his drawing finally persuaded Claude’s parents of the seriousness of his vocation. Still, even in those early days, his behaviour perplexed them. Nevertheless, Claude’s parents sent him to attend classes with a rather fashionable Parisian painter, Auguste Toulmouche, a Monet family relative. After some time Toulmouche thought it essential that Monet attend the free studio run by his own teacher, Charles Gleyre. It was there in Gleyre’s studio that Monet met Pierre Auguste Renoir, Alfred Sisley, and Frédéric Bazille.

40-41) was shown to the viewing public. And again there was shock and an incredible scandal around the painting. ” (Manet, op. cit, p. 181). The black servant confirmed what everyone suspected, namely that this was definitely a prostitute waiting for a client who had brought her a bouquet carefully made by a florist. Unlike Titian’s Vénus d’Urbino, which Manet greatly admired, but which only existed in the closed world of his canvas, Olympia looked out at the viewer unabashedly. Everything in this painting caused indignation, beginning with the title on the frame.

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