• A Carnival Evening, 1886
  • Midsummer Festival, 2011 - Vezur
  • Self Portrait with Arm Twisting above Head, 1910
  • Winter at the seaside, 2011 - Vezur
  • Dancers in Riga Heart, 2011 - Vezur
  • The Druidess, 1893
  • The Football Players, 1908
  • Lady with fan, 1918
  • Melancholy, 1874
  • Blue cow, 2011 - Vezur
  • The Magpie, 1869
  • Tree of Life, 1909
  • Three Sisters at The Three Brothers, 2011 - Vezur
  • Wheat Field With Reaper And Sun, 1889
  • Breath of the Earth, 2011 - Vezur
  • Four Bathers, 1905
  • Lying act, 1917
  • Flower Clouds, 1903
  • The Black Cat, 2011 - Vezur
  • Two Tahitian Women, 1899
  • Nabis Landscape, 1890
  • The Sky, 2011 - Vezur
  • Summer Evening, 1886
  • Winter, 2011 - Vezur
  • The Second Youth, 2011 - Vezur
  • Idyll in Tahiti, 1901
  • Old Riga, 2011 - Vezur
  • Nude Egyptian Girl, 1891
  • Woman on a Terrace, 1857
  • The Vision after the Sermon, 1888
  • Spanish Dancer, 1882
  • La Sybille, 1891
  • Le Pêcheur (The Fisherman), 1909
  • The Kiss, 1908
  • Negress, 1869
  • Blue Dancers, 1899
  • Girls, 2011 - Vezur
  • Lovers: Man and Woman I, 1914
  • Turaida Castle, 2011 - Vezur
  • Lady of the Flowers, 1895
  • Spring, 1879
  • Stork, 2011 - Vezur
  • Impression, Sunrise, 1872
  • The Vines, 1902
  • Flowers in a Vase, 1866
  • Dome Square, 2011 - Vezur
  • An Angel
  • The Red Vineyard, 1888
  • Evening in New York, 1890
  • Portrait of a European Lady in Japanese Costume

Negress, 1869

Negress, 1869

Thomas Eakins

This painting was done when Thomas Eakins went through 3 years of rigorous academic training at the École des Beaux-Arts under Jean Leon Gerome at Paris.
In the European imaginary, the black female body was forced to conform to multiple (and contradictory) gendered roles. The most frequently rehearsed role assigned to the black female was that of the alluring temptress. Nineteenth-century naturalists sustained a correlation between the physical attributes of the négresse and her excessive sexual appetites. Eakins’s image adhered to many of the expected somatic characteristics of the black female body, it avoided the distilled (and presumed) verisimilitude that was the hallmark of Eakins’s teacher, Gerome. Same model appears in few Bazille paintings.
 

The painting will be delivered unstreched, rolled in protective & presentable case.