the bath painting french

 

West Building Patricia Z. Thompson, “Diane de Poitiers: A Reassessment,” Stanford French Review (Spring 1989): 49–63, is a succinct discussion and biography. Photograph in NGA curatorial files and NGA photographic archives. One of the drawings is dated about 1555, while the second, showing Mary in white mourning dress, may be dated between 1559 and 1561. Though she was in her mid-fifties, the artist depicts her as a young woman. E.13, E.15, E.16. The window at the far left opens onto a tree set against the sky. Geneva, 1970), 239–241. 5, 30–31, no. Philippe Ariès and Georges Duby, vol. Of interest is the ring worn on the little finger of the left hand that appears identical to those on the little finger of the left hands of Pierre Quthe and Elizabeth of Austria. The Bath (1880-85) by Jean-Léon Gérôme. 6, 40 (July 1952): 18–19, Anthony Blunt, Art and Architecture in France: 1500 to 1700 (London, 1953), 69–70, and several subsequent authors, such as Albert Châtelet and Jacques Thuillier, French Painting from Fouquet to Poussin (Geneva, 1963), 111. He found the version in the Worcester Art Museum the most faithful replica of Clouet’s lost original. If this is a reference to the artist’s name, it is a unique occurrence. Margaret B. Freeman, The Unicorn Tapestries (New York, 1976), 42–54. [39]  [39]Charles D. Cuttler, Northern Painting from Pucelle to Bruegel: Fourteenth, Fifteenth, and Sixteenth Centuries (New York, 1968), 466. that is difficult to reconcile with what may be the depiction of a mistress. Irene Adler, “Die Clouet: Versuch einer Stilkritik,” Jahrbuch der kunsthistorischen Sammlungen in Wien, N.F. Bibliothèque nationale, Les Clouet & la cour des rois de France: de François Ier à Henri IV (Paris, 1970), 52, no. As noted in Margaret B. Freeman, The Unicorn Tapestries (New York, 1976), 115–116, the sweet violet (viola odorata) is associated with the Virgin Mary in her humility and is often mentioned in love poetry. The bathing room has a large, elaborate sink surrounded by porcelain tile. (Paris, 1886–1902), 31:206, “Les chroniqueurs lui donnent un visage rond, l’oeil vif, le front petit,” does not match the oval face of the woman in the Gallery’s painting. (Boston, 1949), 31–32; Charles Seymour, Art Treasures for America: An Anthology of Paintings and Sculpture in the Samuel H. Kress Collection (London, 1961), 114; Albert Châtelet and Jacques Thuillier, French Painting from Fouquet to Poussin (Geneva, 1963); André Chastel, “Diane de Poitiers: ‘L’eros de la beauté froide,’” in Friendship’s Garland: Essays Presented to Mario Praz on His Seventieth Birthday (Rome, 1966), 101; Charles D. Cuttler, Northern Painting from Pucelle to Bruegel: Fourteenth, Fifteenth, and Sixteenth Centuries (New York, 1968), 466; James Snyder, Northern Renaissance Art: Painting, Sculpture, The Graphic Arts from 1350 to 1575 (Englewood Cliffs, NJ, 1985), 519. ), framed: 116.84 × 106.68 × 7.62 cm (46 × 42 × 3 in. Her left hand draws back the bath sheet revealing the artist's name inscribed below, while her right hand rests on a covered board that displays a sumptuously rendered … Of interest is the ring worn on the little finger of the left hand that appears identical to those on the little finger of the left hands of Pierre Quthe and Elizabeth of Austria. The flowers have been identified as bird’s-foot violet to the immediate left of the sitter’s hand, two strawflowers further to the left, and above her hand an unidentified species of white rose. Closed, Sculpture Garden Particularly intriguing is Charles Sterling’s belief that these paintings are replicas of a lost Clouet, painted around 1560, that was a pendant to A Lady in Her Bath. 3 (1929): 233. 2, 17 (1878): 289–304; Anatole de Montaiglon, “Diane de Poitiers et son goût dans les arts,” Gazette des Beaux-Arts, ser. Moreover, to accept a date of c. 1560 for A Lady in Her Bath means finding it similar to the portrait of Pierre Quthe (Paris, Musée du Louvre) of 1562. . Circular tubs, also accompanied by hanging draperies, appear in Antonio Fantuzzi’s etching after Primaticcio, Mars and Venus Bathing, and in a painting of the School of Fontainebleau, Venus at Her Toilet (Paris, Musée du Louvre), both reproduced in Jean Jacques Lévêque, L’école de Fontainebleau (Neuchâtel, 1984), 93, 134. 426, states that the painting was purchased from J. Charles Robinson in 1874 for 350 pounds. For the multiple meanings of juniper and rosemary (but not oregano), see Mirella Levi d’Ancona, The Garden of the Renaissance: Botanical Symbolism in Italian Painting (Florence, 1977), 197–199, 355–358. and what is apparently a bathing cap made of what appears to be velvet and a sheer white fabric edged in gold. Compare, for example, the comments in Musée des Beaux-Arts, Dijon, La Dame à sa toilette (Dijon, 1988), 20–27, 41–46, nos. no. 1890 or later, cast 1920. [2] Maurice Brockwell, Catalogue of the Pictures at Doughty House, Richmond, and Elsewhere in the Collection of Sir Frederick Cook, Bt., 3 vols., London, 1913-1915: 3:no. ‘Moorish Bath’ was created in 1885 by Jean-Leon Gerome in Orientalism style. Wood, 92.5 × 69.5 cm, sale, Sotheby Parke Bernet & Co., London, December 15, 1982, no. [51]  [51]Fernand Mercier, “La valeur symbolique de l’oeillet dans la peinture du Moyen-Âge,” Revue de l’Art 71 (Jan. 1937): 233–236. Chantal Sibylle Eschenfelder, Die Bäder Franz I. in Fontainebleau, Schriften aus dem Institut für Kunstgeschichte der Universität München, Band 55 (Munich, 1991), 17, underscores the classical analogy and cites the foreword of Guillaume Du Choul’s book, Discours de la Réligion des anciens Romains (1566), which is dedicated to Henri II and compares the baths at Fontainebleau in their healthfulness and sumptuousness with the baths of Agrippa. 1. See Ann Plogsterth, “The Institution of the Royal Mistress and the Iconography of Nude Portraiture in Sixteenth-Century France” (PhD diss., Columbia University, 1991), 279–281, nos. 3 (1929): 230, 232–233, is probably the first to make these observations, which recur with modifications in such authors as Anthony Blunt, Art and Architecture in France: 1500 to 1700 (London, 1953), 69–70; Sylvie Béguin, L’école de Fontainebleau: le maniérisme à la cour de France (Paris, 1960), 94–95; Albert Châtelet and Jacques Thuillier, French Painting from Fouquet to Poussin (Geneva, 1963), 129–130. Another version was put up for sale, Sotheby’s New York, May 30, 1991, no. See André Blum, The Last Valois 1515–1590: Costume of the Western World (London, 1951), 20, pl. Read customer reviews and common Questions and Answers for East Urban Home Part #: EBNN2464 on this page. There are references to baths and bathing in Danielle Régnier-Bohler, “Imagining the Self,” in A History of Private Life, ed. The pink was also associated with Christ and the Virgin and with the passion of Christ. To my mind, however, this hypothesis is severely weakened by Trinquet’s and Ehrmann’s iconographic analysis, which strains to associate objects in the painting with Mary Stuart. The presence of draperies in several of these representations suggests that they may have been an integral part of the bath as devices to protect the bather from chilly drafts. 5, pl. Among those who find the identification possible are Anthony Blunt, Art and Architecture in France: 1500 to 1700 (London, 1953), 69–70; Linda Murray, “The French Portrait,” History Today 5 (1955): 5; Gerd Muehsam, French Painters and Paintings from the Fourteenth Century to Post­-Impressionism (New York, 1970), 43–45; Carlo Ludovico Ragghianti, “Pertinenze francesi nel Cinquecento,” Critica d’Arte 19 (1972): 46; Howard Risatti, “A French Court Portrait,” Bulletin of the Krannert Art Museum 2 (1976): 18, 20. Italian mannerist style and iconography were an essential part of the French court in the persons of Rosso Fiorentino (Florentine, 1494 - 1540) and Francesco Primaticcio (Italian, 1504 - 1570), who were formative influences on the artists of the School of Fontainebleau. Rochele Mason, 28, from Barnsley, painted the tiles from pink to blue in her bathroom … See also David Alan Brown and Konrad Oberhuber, “Monna Vanna and La Fornarina: Leonardo and Raphael in Rome,” in Essays Presented to Myron P. Gilmore (Florence, 1978), 2:37–60. [12]  [12]For example, the painting from the School of Fontainebleau, Diane chasseresse, and the sculpture, Diane au repos, sometimes attributed to Jean Goujon (both Paris, Musée du Louvre), have been considered representations of Diane de Poitiers. See also André de Hevesy, “L’histoire véridique de la Joconde,” Gazette des Beaux-Arts, ser. I am very grateful to National Gallery of Art horticulturalist Donald Hand and members of his staff for identifying the flowers and herbs. A Lady in Her Bath also shows affinities to the highly polished surfaces and icy eroticism of An Allegory of Venus and Cupid (London, National Gallery) by Agnolo Bronzino (Florentine, 1503 - 1572), possibly the painting Giorgio Vasari (Florentine, 1511 - 1574) described as belonging to François I. Her left hand draws back the bath sheet revealing the artist's name inscribed below, while her right hand rests on a covered board that displays a sumptuously rendered still life. The relationship of this set of images to A Lady in Her Bath is provocative but not wholly clear. Her ruddy complexion and coarse, animated features are in vivid contrast to the ivory skin and cool, idealized beauty of the woman in the tub. Learn more. Roger Trinquet, “L’allégorie politique au XVIe siècle: La Dame au Bain de François Clouet (Washington),” Bulletin de la Societé de l’Histoire de l’Art Français (1966): 99–119; Jean Ehrmann, typescript, February 16, 1968, based on a lecture given at the National Gallery of Art on May 21, 1967, in NGA curatorial files. Berthelot . It should also be mentioned that a related depiction of a mistress, La Fornarina (Rome, Galleria Nazionale, Palazzo Barberini) by Raphael (Marchigian, 1483 - 1520), engendered a copy by an artist of the School of Fontainebleau (Atlanta, High Museum of Art). In addition to A Lady in Her Bath, the presence in France of Leonardo’s composition in some form may be inferred from a painting attributed to Joos van Cleve (Netherlandish, active 1505/1508 - 1540/1541) (location unknown),[27]  [27]Reproduced in Max J. Friedlaender, Early Netherlandish Painting (Leiden, 1967–1972), 9: pl. In the same vein, the rose bears both religious meaning, as the flower of martyrs, virgins, and Mary, and secular meaning, as an emblem of sensual pleasure and earthly love; see Freeman, The Unicorn Tapestries, 121–124. The following 5 files are in this category, out of 5 total. These paintings have been discussed and reproduced individually and collectively on several occasions. 1 (1991): 16–21. [44]  [44]Jillian Bradshaw and Dorothy M. Jones, “Luxury, Love and Charity: Four Paintings from the School of Fontainebleau,” Australian Journal of Art 3 (1983): 55–56. An excellent study of the Dijon painting that includes discussion of the Basel and Worcester pictures is in Musée des Beaux-Arts, Dijon, La Dame à sa toilette (Dijon, 1988), 6–19. [1] Annotation accompanying the copy of the catalogue in the archives of Christie, Manson & Woods, London. I am grateful to Mme Durey for enabling me to examine the painting at a time when the museum was closed for renovation (June 14, 1993). Sourcing beautiful vintage and antique pieces from around the globe for you, your home and garden In the same vein, the rose bears both religious meaning, as the flower of martyrs, virgins, and Mary, and secular meaning, as an emblem of sensual pleasure and earthly love; see Freeman, The Unicorn Tapestries, 121–124. [8]  [8]Georges Guiffrey, Dianne de Poytiers: lettres inedites (Paris, 1866; repr. 45. Many authors have noted the probable influence of Bronzino and Francesco Salviati (who was in France c. 1555), especially upon Clouet’s portraiture. [54]  [54]Colin Eisler, Paintings from the Samuel H. Kress Collection: European Schools Excluding Italian (Oxford, 1977), 255. Setting identification aside for the moment, and considering style and, to an extent, fashion, a good case may be made for a date around 1571, as Louis Dimier first proposed in 1904 and in 1925. Etienne Moreau-Nélaton, Les Clouet et leurs émules (Paris, 1924), 2: figs. Read our full Open Access policy for images. See Galeries nationales du Grand Palais. Helen Smailes and Duncan Thomson, The Queen’s Image: A Celebration of Mary, Queen of Scots (Edinburgh, 1987), 32, no. There is no way of knowing whether the ring had special significance or was simply a studio prop. Sometimes attributed to Clouet, a drawing (Chantilly, Musée Condé) inscribed “La Duchesse de Valentinois” is usually dated around 1550. no. Main. Charles Cuttler compared the boy reaching for the fruit with the children and still-life elements present in Family Portrait (Kassel, Staatliche Kunstsammlungen) by Maerten van Heemskerck (Netherlandish, 1498 - 1574) and the background of the painting with the interiors of Pieter Aertsen’s (1507/1508–1575) pictures. 106, 3:76, no. 1571,” French Paintings of the Fifteenth through Eighteenth Centuries, NGA Online Editions, https://purl.org/nga/collection/artobject/46112 (accessed April 16, 2021). , home decor, apparel, phone cases, greeting cards, and flowers 313 no... 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