• Seacoast at Engure, 2011 - Vezur
  • Seated Nude, 1917
  • Midsummer Night, 1876
  • Old Town Charm, 2011 - Vezur
  • Interior, Woman at the Window, 1880
  • Breath of the Earth, 2011 - Vezur
  • Self Portrait with Hands on Chest, 1910
  • The Midday Nap, 1894
  • Antibes Seen from the Salis Garden, 1888
  • An Angel
  • The Vines, 1902
  • Caricature Self Portrait, 1889
  • Evening in New York, 1890
  • Café Terrace at Night, 1888
  • Passion for Dance, 2011 - Vezur
  • Mona Lisa, 1507
  • Nude Egyptian Girl, 1891
  • House of Blackheads, 2011 - Vezur
  • The Woman Friends, 1917
  • Entrance to harbor, Moonlight, 1881
  • The Football Players, 1908
  • Standing Girl in a Plaid Garment, 1909
  • Dancers in Blue, 1890
  • Lovers: Man and Woman I, 1914
  • Anna Pavlova in the Ballet Sylphyde, 1909
  • Big Red Buste, 1913
  • Agony, 1912
  • Taking the Count, 1896
  • Deauville, The Basin, 1892
  • Spanish Dancer, 1882
  • Poppy field, 2011 - Vezur
  • Richard Gallo and His Dog, at Petit Gennevilliers, 1884
  • Dandelions, Ventas Rumba, 2011 - Vezur
  • Madame Camus with a Fan, 1870
  • Bare Tree behind a Fence, 1912
  • Music-I, 1895
  • Le Pêcheur (The Fisherman), 1909
  • Evocation
  • Avenue of poplars at sunset, 1884
  • The Buffalo Trail, 1867
  • Moonlight On The Loire Barbizon landscape
  • Melancholy, 1874
  • Cagnes Landscape
  • Stehend Karyatide, 1913
  • Saint John, 1892
  • Walk Along The Sea, 2011 - Vezur
  • Cold Morning, 2011 - Vezur
  • Flowers in a Vase, 1866
  • Portrait of Felix Feneon, 1890
  • Bridge of Europe, 1877

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.