43 Paintings, Streets of Paris, The Courtesans of Paris, as portrayed by the Artists from 1850-1910 – Behind the Scenes, with footnotes #77

Vincent van Gogh
The Brothel (Le Lupanar), c. 1888

Oil on canvas
13 x 16 1/8 in. (33 x 41 cm)
The Barnes Foundation

It seems that since the Musee dÓrsay’s Exhibition, everybody had something to say! Here are some Paintings that were in the exhibition, and others…

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14 Paintings, PORTRAITS OF A LADY, with Footnotes. # 12

Adam de Coster, MECHELEN, 1585/6 – 1643 ANTWERP

oil on canvas
52 3/4 by 37 3/8 in.; 134 by 94.9 cm.
Private Collection

Adam de Coster (c. 1586 in Mechelen — 4 May 1643 in Antwerp) was a Flemish painter who was a prominent member of the Antwerp Caravaggisti. He is mainly known for his genre scenes with strong chiaroscuro effects. Details about the life and training are sketchy. It is known he was originally from Mechelen where he was born. In 1607 he is recorded in Antwerp on his admission as a master to the local Guild of Saint Luke…

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42 Paintings, Streets of Paris, The Courtesans of Paris, as portrayed by the Artists from 1850-1910 – Behind the Scenes, with footnotes #77

Georges Bottini

Watercolor On Paper
14 5/8 x 10 5/8 in.

Soliciting was prohibited in broad daylight, but was legal for registered girls at nightfall when the streetlamps were lit. This coincided with knocking-off time for women in the workshops in which some occasional prostitutes were employed. Prostitutes may have cultivated an air of ambiguity during the day, but their appearance gradually changed as the urban landscape, illuminated by gas lamps and later by electricity, was transformed. More on Soliciting

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13 works, 32 years later Boston’s $500M art heist remains mystery, with footnotes

Édouard Manet
Chez Tortoni, c. about 1875

Oil on canvas
26 x 34 cm (10 1/4 x 13 3/8 in.)
Isabella Stewart Gardner

13 paintings (by Rembrandt, Vermeer and Manet) vanished on March 18, 1990. The 25th anniversary of the infamous heist; where two men dressed as police officers gained entry to the museum, tied up the security officers and swiped 13 works worth an estimated $500 million. The museum continues to offer a $5 million reward for information leading to the recovery of the works…

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21 Works, September 23rd. is Suzanne Valadon ‘s day, her story, illustrated with footnotes #208

Suzanne Valadon (Marie-Clémentine Valadon), (1865, France – 1938, France)
Le Lancement du filet/ Throwing the net, c. 1914

Oil on canvas
201 x 301 cm
Georges Pompidou Center, Paris, France

Presented at the Salon des Indépendants in 1914, the monumental academic panel irritated avant-garde critics. Arthur Cravan, who in issue five of his episodic review Now, writes an angry criticism of the Salon, violently attacks Suzanne Valadon (“[she] knows the little recipes well, but simplifying is not making simple, old bitch!”). Sentenced for defamation, he replied fiercely in a supplement to his review: “Contrary to my assertion, Ms. Suzanne Valadon is a virtue”. Le Lancement du Filet is Valadon’s latest work dedicated to the male nude. Subsequently, she devoted herself especially to an iconography centered on the nudes of women and children. More on this painting

Suzanne Valadon (23 September 1865–7 April 1938) was a French painter and artists’ model. In 1894, Valadon became the first woman painter admitted to the Société Nationale des Beaux-Arts. She was also the mother of painter Maurice Utrillo…

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Edgar Degas, At the Mirror 01 Paintings, PORTRAIT OF A LADY., with Footnotes. #28

Edgar Degas
At the Mirror, c. 1889

Pastel on paper
49 x 64 cm
Kunsthalle, Hamburg

Edgar Degas (19 July 1834 – 27 September 1917) was a French artist famous for his paintings, sculptures, prints, and drawings. He is especially identified with the subject of dance; more than half of his works depict dancers. He is regarded as one of the founders of Impressionism, although he rejected the term, preferring to be called a realist. He was a superb draftsman, and particularly masterly in depicting movement, as can be seen in his renditions of dancers, racecourse subjects and female nudes. His portraits are notable for their psychological complexity and for their portrayal of human isolation.

At the beginning of his career, Degas wanted to be a history painter, a calling for which he was well prepared by his rigorous academic training and close study of classic art. In his early thirties, he changed course, and by bringing the traditional methods of a history painter to bear on contemporary subject matter, he became a classical painter of modern life. More on Edgar Degas

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