2010 NYC - Fandrick's Vacation - Album #6E.

                                        Last revised: November 12, 2011                                                                                    

The Met - (Part II.)

Madame Georges Charpentier - (1878)
(nėe Marguérite-Louise Lemonnier -
(1848-1904) - and her children
Georgette-Berthe (1872-1945) and Paul-Èmile-Charles (1875-95)

Madame Georges Charpentier and Her Children - Painted by Auguste Renoir (1841-1919)

Renoir had participated in the first three Impressionist exhibitions, but in 1879, he declined the fourth and returned to the more traditional annual Salon. "Madame Georges Charpentier and Her Children" was one of the paintings he exhibited there, to great acclaim. It had been commissioned by the publisher Georges Charpentier, whose stable of authors included Gustave Flaubert, the Goncourt brothers, and Émile Zola.

Wearing an elegant Worth gown, Marguérite Charpentier sits beside her three-year-old son, Paul. Following the fashion of the time, his hair has not yet been cut and his clothes match those of his sister, Georgette, who perches on the family dog. Pleased with the painting, Madame Charpentier used her influence to ensure that it was hung in a choice spot at the Salon and introduced Renoir to her friends, several of whom commissioned work from him.

The Start of the Race of the Riderless Horses - (1820)

...RIDERLESS HORSES  - Painted by French artist Horace Vernet - (1789-1863)

A highlight of the Roman carnival was the race of small horses from wild stock—called Barbary after their North African origin—down the mile-long Corso, from the Piazza del Popolo to the Piazza Venezia. Many writers and artists were attracted by the colorful event and sometimes appalled by the cruelty of the populace. Weighted, spiked balls were attached by cords to the horses to spur the animals as they moved.

Vernet was a close associate of Gericault's, and he must have known the many studies the artist made in Rome in 1817 for a painting of the race.

James-Jacques-Joseph Tissot -

James-Jacques-Joseph TISSOT - French Artist Edgar Degas (1834-1917)

This canvas is one of the largest Degas devoted to an individual portrait in the 1860s. It belongs to a series of seemingly casual likenesses of artists caught in characteristic moments of repose. James Tissot, the fashionable Anglo-French painter of richly detailed genre scenes, was Degas's mentor at the time. Degas and Tissot may have met first when both were students of the portraitist Louis Lamothe, but they were reintroduced about 1862. Degas copied works by Tissot and continually sought his advice through the mid-1870s.

Behind the picture's studied asymmetry and the sense of a chance encounter with its subject, there lies the memory of Velázquez's "Las Meninas." Although it was known to Degas only in reproduction, Velázquez's composition was influential in the placement of the pictures on the back wall, in the use of a curtain and an easel to frame the view, and in the conceit of having the sitter appear to be pausing for only a moment at center stage.

The Englishman - (1892)

THE ENGLISHMAN (William Tom Warrener,  (1861-1934)  AT THE MOULIN ROUGE --Painted by French artist Henri de Toulouse-Lautrec - (1864-1901)

Born into one of France's oldest aristocratic families, Lautrec began to draw at an early age and soon concentrated most of his energy on his painting and on documenting the lives of Parisian outcasts. In 1886, he moved to the district of Montmartre, where he executed a series of pictures of the cafés and dance halls frequented by prostitutes and their clients.

"The Englishman at the Moulin Rouge" is the preparatory study for a color lithograph of 1892. The influence of Degas and of Japanese prints can be seen in the odd perspective the artist selected, in the vibrancy of the color, and in the strong descriptive line. The model for the man was William Tom Warrener, an artist and a friend of Lautrec's

Self-portrait with Two Pupils - (1785)

SELF PORTRAIT WITH TWO PUPILS, Mademoiselle Marie Gabrielle Capet  - (1761-1818)  and Mademoiselle Carreaux de Rosemond (d. 1788)
Painted by French artist Adėlaïde Labille-Guiard -

Adélaïde Labille-Guiard was apprenticed to a miniaturist and later, in 1769, studied pastel with Maurice Quentin de La Tour. The rich palette and fine detail in the present picture, one of the earliest of her major works in oil, reflect her earlier training. In 1783, when Labille-Guiard and Vigée Le Brun were admitted to the French Royal Academy, the number of women artists eligible for membership was limited to four, and this canvas, which was exhibited to an admiring audience at the Salon of 1785, has been interpreted as a propaganda piece, arguing for the place of women in the Academy. The artist's fashionable dress asserts her femininity, the feminist mood is emphasized by the presence of her pupils and the statue of the Vestal Virgin in the background.

Labille-Guiard achieved a certain success at court and, having painted a number of portraits of the aunts of Louis XVI, she came to be known as "Peintre des Mesdames". However, she sympathized with the Revolution and, unlike Vigée Le Brun, remained in France throughout her life


Sulking - (1870)

Sulking -  Painted by French artist Edgar Degas - (1834-1917)

Like several of Degas's genre pictures from the late 1860s and early 1870s, this painting seems to reflect a literary or theatrical source. None has been found, yet the drama that exists between the man and woman continues to invite speculation. Are they a husband and wife, a man and his lover, a father and his daughter, a banker and his client, a woman placing bets on horse races? The ambiguity of the relationship harbors an endless fascination.

The picture's anecdotal character is reminiscent of Victorian painting, which Degas studied in the British section of the 1867 Exposition Universelle in Paris. When he was working on this canvas, Degas was closely allied with James Tissot, the most Anglophilic of French artists. Degas asked the writer Edmond Duranty and the young model Emma Dobigny, who had been a favorite of Corot, Puvis, and Tissot, to pose for him. The racing print behind them is Degas's careful copy of a color lithograph by J. F. Herring.

After we viewed many of the European paintings, we located the American Paintings and Sculpture. Here are a few of our favorites.                                        

Washington Crossing the Delaware - (1851)

WASHINGTON CROSSING THE DELAWARE Painted by Emanuel Leutze (1816-1868)

Leutze's depiction of Washington's attack on the Hessians at Trenton on December 25, 1776, was a great success in America and in Germany. Leutze began his first version of this subject in 1849. It was damaged in his studio by fire in 1850 and, although restored and acquired by the Bremen Kunsthalle, was again destroyed in a bombing raid in 1942. In 1850, Leutze began this version of the subject, which was placed on exhibition in New York during October of 1851. At this showing Marshall O. Roberts bought the canvas for the then-enormous sum of $10,000. In 1853, M. Knoedler published an engraving of it. Many studies for the painting exist, as do copies by other artists.

The Chess Players - (1876)

The Chess Players Painted by American Artist Thomas Eakins (1844-1916)

Thomas Eakins, born in Philadelphia in 1844, is one of America's few indisputably great painters. He pursued his art with a deliberate, workmanlike mastery of his craft. His passion for exactness and technical precision is evident from the perspectival and anatomical studies he did as a student through his meticulous paintings.

After studying briefly at the Pennsylvania Academy of Fine Arts, Eakins apprenticed in Paris, but he found his vocation as a distinctively American painter.

Eakins was respected by other artists and a handful of critics, but he never had a wide following. Consequently, many of his portraits are of friends, family, or students. There was a mild scandal in 1886, when he was director of the Pennsylvania Academy of Fine Arts. Eakins tried to illustrate a point of anatomy by removing the loincloth from a male model in a drawing class in which female students were present; he was promptly dismissed.


Washington and Lafayette - (1859)

Painted by American artist Thomas Pritchard Rossiter - (1818-1871)

Thomas Pritchard Rossiter, American historical painter was born in New Haven, CT and spent many years in Europe studying and painting. He painted portraits in London and Paris and from 1841 to 1846 he lived in Rome. He had a studio in Paris from 1853-1856. He settled in Cold Spring, NY where he devoted himself chiefly to religious and historical paintings.

The National Academy Jury of 1907

                 Painted by American Artist F. Luis Mora

F. (Francis) Luis Mora was an acclaimed American artist. Luis Mora was most active between 1899 and 1931, when his wife, Sonia, of 31 years died suddenly of food poisoning. Twenty-three museums in eleven states and Canada own his works. Mora was born in Uruguay to distinguished European parents. Luis Mora was a fully-assimilated American, speaking fluent English. He grew up in Perth Amboy, New Jersey , and studied art in Boston and New York.

Treasures from the museum's collection have been reproduced as jewelry, china, and other objects and sold at the museum's store. The range of art books is amazing, and upstairs is an equally comprehensive selection of posters and inventive children's toys. What a fun place to visit!

"We could have spent many more hours/days at the 'Met' and
still not see everything we wanted to see, and someday we'll
come back again..."


Very light rain continued as we walked by some beautiful condos and apartments across from the 'Met'. Of course the flowers, shrubbery and landscaping was beautiful.

Last revised: November 12, 2011

Copyright © 2011 by RWF2000 Internet Consulting