• The Starry Night, 1889
  • Embrace aka Lovers II, 1917
  • River bank, 2011 - Vezur
  • Four Bathers, 1905
  • Dancers in Blue, 1890
  • The Thames below Westminster, 1871
  • The Magpie, 1869
  • Cagnes Landscape
  • Dancers V, 1877
  • Woman with Black Hat, 1909
  • Marine bleue, 1893
  • Golden autumn, 2011 - Vezur
  • Two Swans, 2011 - Vezur
  • Spring, 1879
  • Zwei Akte, 1890
  • Le Pêcheur (The Fisherman), 1909
  • Almond Branches in Bloom, San Remy, 1890
  • The Vision after the Sermon, 1888
  • Reclining Woman with Green Stockings (aka Adele Harms), 1917
  • Old Town Charm, 2011 - Vezur
  • River Daugava, 2011 - Vezur
  • Blue cow, 2011 - Vezur
  • Taking the Count, 1896
  • The Fog Warning, 1885
  • Two Little Girls On The Beach, 1895
  • Recumbent Nude, 1917
  • The Sleeping Gypsy, 1897
  • Moonlight, 1874
  • The Vines, 1902
  • Evocation
  • Saint John, 1892
  • Autumn, 1877
  • Water Lilies, Green Reflection, Left Part, 1923
  • The Woman Friends, 1917
  • Big Red Buste, 1913
  • Horses, 2011 - Vezur
  • Midsummer Festival, 2011 - Vezur
  • The Veteran in a New Field, 1865
  • Lady of the Flowers, 1895
  • Interior, Woman at the Window, 1880
  • Strolling along the Seashore, 1909
  • Seacoast at Engure, 2011 - Vezur
  • Four Trees, 1917
  • Breath of the Earth, 2011 - Vezur
  • Morning in a Pine Forest, 1889
  • Sun Walk Over The Bridge, 2011 - Vezur
  • When The Grass Was Greener, 2011 - Vezur
  • Madame Camus with a Fan, 1870
  • Dancers in Riga Heart, 2011 - Vezur
  • Water Lilies, 1906

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.