• Bridge of Europe, 1877
  • Winter at the seaside, 2011 - Vezur
  • The Woman Friends, 1917
  • The Haymaker, 1886
  • Yellow Circle, 1926
  • The Second Youth, 2011 - Vezur
  • Lady with fan, 1918
  • Orange Trees, 1878
  • Old Town Back In 30's, 2011 - Vezur
  • Adele Bloch Bauer I, 1907
  • Midsummer Night, 1876
  • Portrait of Josette, 1916
  • Winter, 2011 - Vezur
  • House of Blackheads, 2011 - Vezur
  • Reclining Semi-Nude with Red Hat, 1910
  • Flowers in a Vase, 1866
  • Foggy Morning, 2011 - Vezur
  • Anna Pavlova in the Ballet Sylphyde, 1909
  • Three Sisters at The Three Brothers, 2011 - Vezur
  • Study of a Head, 1913
  • Agony, 1912
  • Anemones, 1909
  • Buddah In His Youth, 1904
  • The Magpie, 1869
  • Turaida Castle, 2011 - Vezur
  • Self Portrait With Spread Fingers, 1909
  • Harvest Time, 1878
  • Forest, 2011 - Vezur
  • Autumn Sun I, 1912
  • Caricature Self Portrait, 1889
  • Strolling along the Seashore, 1909
  • Spring, 1879
  • Conversion, 1912
  • Two Swans, 2011 - Vezur
  • Countryside, 2011 - Vezur
  • Flower Clouds, 1903
  • Spanish Dancer, 1882
  • Reclining Woman with Green Stockings (aka Adele Harms), 1917
  • Lying act, 1917
  • Harlequin, 1890
  • Portrait of Felix Feneon, 1890
  • Beatrice, 1897
  • Buckwheat Harvesters at Pont-Aven, 1888
  • Standing Girl in a Plaid Garment, 1909
  • The Red Vineyard, 1888
  • Moonlight On The Loire Barbizon landscape
  • Valdemara street, 2011 - Vezur
  • Adam and Eve, 1526
  • Breath of the Earth, 2011 - Vezur
  • The Rape of Europa, 1910

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.