• Summer Evening, 1886
  • Blue cow, 2011 - Vezur
  • Water Lilies, 1906
  • Wanderer above the Sea of Fog, 1818
  • The Haymaker, 1886
  • Almond Branches in Bloom, San Remy, 1890
  • Portrait of Felix Feneon, 1890
  • House of Blackheads, 2011 - Vezur
  • The Banks of the River at Veneux, 1881
  • Woman with Black Hat, 1909
  • Anna Pavlova in the Ballet Sylphyde, 1909
  • Riga in Blue, 2011 - Vezur
  • Bare Tree behind a Fence, 1912
  • Blue Dancers, 1899
  • Old Town Charm, 2011 - Vezur
  • Study of a Figure Outdoors (Facing Right), 1886
  • Wheat Field With Reaper And Sun, 1889
  • River Daugava, 2011 - Vezur
  • Girls, 2011 - Vezur
  • Big Red Buste, 1913
  • Interior, Woman at the Window, 1880
  • Study for The Spanish Dance, 1882
  • Gloomy Situation, 1933
  • Caricature Self Portrait, 1889
  • Columbus Avenue, Rainy Day, 1885
  • Ophelia, 1905
  • Horses, 2011 - Vezur
  • La Sybille, 1891
  • The Midday Nap, 1894
  • Riegert aka Laima Clock, 2011 - Vezur
  • Lady with hat and feather boa, 1909
  • Girl with a Pearl Earring, 1666
  • Water Lilies, Green Reflection, Left Part, 1923
  • The Large Bathers, 1906
  • Breton Landscape - Fields by the Sea (Le Pouldu), 1894
  • Jurmala (Sea Pearl), 2011 - Vezur
  • Walk Along The Sea, 2011 - Vezur
  • Flying people, 2011 - Vezur
  • Passion for Dance, 2011 - Vezur
  • The Woman Friends, 1917
  • A Friend in Need, 1903
  • Dandelions, Ventas Rumba, 2011 - Vezur
  • The Vision after the Sermon, 1888
  • Autumn Sun I, 1912
  • The Star, 1878
  • Golden autumn, 2011 - Vezur
  • The Druidess, 1893
  • The Last Supper, 1498
  • The Sower, 1888
  • Yellow Circle, 1926

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.