• Embrace aka Lovers II, 1917
  • Anna Pavlova in the Ballet Sylphyde, 1909
  • Riga Springtime, 2011 - Vezur
  • Pugacheva Taxi, 2011 - Vezur
  • Garden Study of the Vickers Children, 1884
  • Golden autumn, 2011 - Vezur
  • Summer Evening, 1886
  • Study of a Head, 1913
  • Girls, 2011 - Vezur
  • Poppies, 1886
  • Standing Girl in a Plaid Garment, 1909
  • Moonlight, 1874
  • Old Riga, 2011 - Vezur
  • Girl with a Pearl Earring, 1666
  • Moonrise over the Sea, 1822
  • Flowers in a Vase, 1866
  • Music-I, 1895
  • Buddah In His Youth, 1904
  • Daisy fields, 2011 - Vezur
  • A Gust of Wind, 1883
  • Countryside, 2011 - Vezur
  • Bridge of Europe, 1877
  • Spring, 1879
  • Lady of the Flowers, 1895
  • Taking the Count, 1896
  • Portraits at the Stock Exchange, 1879
  • A Carnival Evening, 1886
  • Ligo Evening, 2011 - Vezur
  • Portrait Of Gabrielle Aka Young Girl With Flowers, 1900
  • Harvest Time, 1878
  • Nude Egyptian Girl, 1891
  • Jurmala (Sea Pearl), 2011 - Vezur
  • Autumn Sun I, 1912
  • Rosina, 1878
  • Entrance to harbor, Moonlight, 1881
  • Columbus Avenue, Rainy Day, 1885
  • Adam and Eve, 1526
  • The Vision after the Sermon, 1888
  • A Friend in Need, 1903
  • Marine bleue, 1893
  • Negress, 1869
  • Lovers: Man and Woman I, 1914
  • The Sky, 2011 - Vezur
  • Seated Nude, 1917
  • The Kiss, 1908
  • Vase Of Poppies, 1909
  • Portrait of Felix Feneon, 1890
  • Dancers in Blue, 1890
  • Spring, 1879
  • Bare Tree behind a Fence, 1912

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.