The Painter's Studio

ABOUT THE same time that Eakins began his portrait of Dr. Gross, he made preliminary sketches for William Rush Carving His Allegorical Figure of the Schuylkill River...

In 1940 Locke published The Negro in Art: A Pictorial Record of the Negro Artist and of the Negro Theme in Art. The first section, “The Negro as Artist,” sets the achievements of African American artists in world-historical context...

Manet has been a focus of attention for art historians during the past decade. In an important sense...

~~EDOUARD MANET’S Portrait of Mlle E. G., recognised by many critics as a painting of the young artist Eva Gonzalès when it was exhibited at the Salon of 1870,...

The nineteenth-century French press was decisively shaped by censorship....

In the last two of Courbet’s autobiographical series of self-portraits, painted between 1842 and 1855, the artist portrayed himself not alone, but in the company of others: a patron, in The Meeting (La Rencontre; see fig. 80), and a...

~WHY DID the painter of Gallery of the Louvre (plate 1) invent the electromagnetic telegraph? To answer this question, we must go back to the fall of 1832, when these two inventions crossed paths.

FANTIN-LATOUR has been the core of every chapter in this book so far. Courbet, Manet, and Degas have all been significant parts of the story, but it is in Fantin’s work that my key arguments have found their root. He has been my focus because his work’s engagement with group dynamics is the most deep and sustained, and because his painting’s best expose the...

This is how Paillot de Montabert defined the term ‘support’ in his major treatise on painting in 1829. Paillot de Montabert 1829, vol. IX, p.io; cf. the definition in Gettens and Stout 1966, p. 258. The most typical supports for easel painting in the nineteenth century were canvas, panel, paper...

~Part one is a tale of two exhibitions, one monograph, and one novel. The first of the two...