• Spring, 1879
  • Bare Tree behind a Fence, 1912
  • Self Portrait With Spread Fingers, 1909
  • Lady with hat and feather boa, 1909
  • Impression, Sunrise, 1872
  • Adam and Eve, 1526
  • The Midday Nap, 1894
  • The Rape of Europa, 1910
  • Negress, 1869
  • The Druidess, 1893
  • Girls, 2011 - Vezur
  • The Man on the Balcony, 1880
  • A Carnival Evening, 1886
  • Wheat Field With Reaper And Sun, 1889
  • Autumn, 1877
  • Countryside, 2011 - Vezur
  • Entrance to harbor, Moonlight, 1881
  • Rosina, 1878
  • Flowers in a Vase, 1866
  • Riga at sunset, 2011 - Vezur
  • Anemones, 1909
  • The Large Bathers, 1906
  • A Gust of Wind, 1883
  • Russian Belle and Landscape, 1904
  • The Banks of the River at Veneux, 1881
  • Manao Tupapau (Spirit of the Dead Watching), 1892
  • Portrait of Josette, 1916
  • Dead Mother, 1910
  • Foggy Morning, 2011 - Vezur
  • Recumbent Nude, 1917
  • Marine bleue, 1893
  • Two Little Girls On The Beach, 1895
  • Woman with a Parasol and Small Child on a Sunlit Hillside,1874
  • Golden autumn, 2011 - Vezur
  • River bank, 2011 - Vezur
  • Antibes Seen from the Salis Garden, 1888
  • Lane at the Jardin du Luxembourg, 1886
  • Portrait of a European Lady in Japanese Costume
  • Dandelions, Ventas Rumba, 2011 - Vezur
  • Portrait of Ida Rubenstein, 1910
  • Kelly Pool, 1903
  • The Sky, 2011 - Vezur
  • Young Man at His Window, 1875
  • Old Town Back In 30's, 2011 - Vezur
  • Harvest Time, 1878
  • Seacoast at Engure, 2011 - Vezur
  • The Haymaker, 1886
  • Lady with fan, 1918
  • Riegert aka Laima Clock, 2011 - Vezur
  • Embrace aka Lovers II, 1917

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.