• When The Grass Was Greener, 2011 - Vezur
  • The Black Cat, 2011 - Vezur
  • Breton Landscape - Fields by the Sea (Le Pouldu), 1894
  • Cold Morning, 2011 - Vezur
  • Cherubini, 1514
  • Lady of the Flowers, 1895
  • Dancers, 2011 - Vezur
  • Woman with a Parasol and Small Child on a Sunlit Hillside,1874
  • Saint John, 1892
  • Rosina, 1878
  • The Vines, 1902
  • Seacoast at Engure, 2011 - Vezur
  • Lying act, 1917
  • The Haymaker, 1886
  • Forest, 2011 - Vezur
  • Blue cow, 2011 - Vezur
  • Dancers in Blue, 1890
  • Beatrice, 1897
  • The Midday Nap, 1894
  • Sea coast, 2011 - Vezur
  • Morning in a Pine Forest, 1889
  • Zwei Akte, 1890
  • Columbus Avenue, Rainy Day, 1885
  • Cagnes Landscape
  • Independence Day, 2011 - Vezur
  • Wanderer above the Sea of Fog, 1818
  • Foggy Morning, 2011 - Vezur
  • Evening on Volga, 1888
  • Le Pêcheur (The Fisherman), 1909
  • Winter, 2011 - Vezur
  • Seacoast at Kurzeme, 2011 - Vezur
  • The Woman Friends, 1917
  • Reclining Semi-Nude with Red Hat, 1910
  • Bare Tree behind a Fence, 1912
  • Old Town In The Snow, 2011 - Vezur
  • Strolling along the Seashore, 1909
  • Riegert aka Laima Clock, 2011 - Vezur
  • Boreas , 1903
  • Self Portrait with Hands on Chest, 1910
  • Autumn Sun I, 1912
  • Paris Street - Rainy Weather, 1877
  • Young Man at His Window, 1875
  • The Kiss, 1908
  • The Veteran in a New Field, 1865
  • Interior, Woman at the Window, 1880
  • Dancers in Riga Heart, 2011 - Vezur
  • Seated Nude, 1917
  • Goldau, 1843
  • Haymaking, 2011 - Vezur
  • Tram No 10, 2011 - Vezur

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.