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The image shows two paintings side by side, both exploring themes of mirrors and female reflection.

In the first, a young woman in a striped dress and apron stands in front of a tall wooden mirror, her back to the viewer as her face and clasped hands are revealed only through the glass; the simple interior and muted tones emphasize modesty and quiet introspection. 

In the second, a reclining nude woman lies on a bed of draped fabrics with her back turned, while a cherub with wings holds up a mirror that reflects her face; the rich colors and sensuous composition contrast sharply with the restrained atmosphere of the first painting. Together, the works highlight different artistic approaches to the idea of self-image and the gaze.

The image shows two paintings side by side, both exploring themes of mirrors and female reflection. In the first, a young woman in a striped dress and apron stands in front of a tall wooden mirror, her back to the viewer as her face and clasped hands are revealed only through the glass; the simple interior and muted tones emphasize modesty and quiet introspection. In the second, a reclining nude woman lies on a bed of draped fabrics with her back turned, while a cherub with wings holds up a mirror that reflects her face; the rich colors and sensuous composition contrast sharply with the restrained atmosphere of the first painting. Together, the works highlight different artistic approaches to the idea of self-image and the gaze.

Eva Gonzalès, The Full-Length Mirror (La Psyché) (c.1869-70) + Velázquez, Rokeby Venus (1647-51)

Gonzalès admired Velázquez greatly and explored the theme of a woman studying herself in a mirror

#SideBySide #Art #Painting #ArtHistory #EvaGonzales #Velazquez #Mirror #Reflection

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“46 Mille Vue” is a named, but unsigned close-up portrait that was originally attributed to French artist Édouard Manet, but some historians now attribute it as a self-portrait by Manet’s only formal pupil, French artist Eva Gonzalès.

With her dark hair styled elaborately in an updo with curls and ringlets, the woman’s expression is somewhat whimsical, as she rests her chin on her left fist prominently displaying a gold band on her wedding finger. Other jewelry includes gold drop earrings, a black choker-style necklace, and a gold bracelet on her wrist. She is wearing a dark blue dress with a white lace collar at the neckline and cuffs.

Attribution to Gonzalès includes anomalies of symmetry and isolation of a tiny mole (or “fairy-kiss”) 1cm below left lip, present in Manet's and Gonzalès’ sister Jeanne's portraits and hi-res photos which confirm the image is a mirror reflection.

Her “maiden fringe” attire and wedding gold band suggest the painting was soon after Gonzalès 1879 marriage to Henri Guérard, a graphic artist and Manet's engraver. The date would commemorate exactly 10 years of association between Gonzalès and her Tutor. The self-portrait was reportedly a gift to Manet which would reciprocate Manet's gift to Gonzalès of his first portrait of her.

The inscription “Mille Vue” (Thousandth Look) is preceded with value “46” apparently signifying Gonzalès’ 46th finished portrait since her first collaboration with Manet: from number 1 “Une Femme” going to numbers 47, 48, and 49 which are the post-nuptial trio “Une Mariee,” “La Demoiselle d'Honnour,” and “La Mariee.”

The preceding portrait, number 45, is a departure from Eva's abstract views of her sister Jeanne, where Gonzalès depicts the direct, powerful gaze of an innocent child in 'Mlle Sarrasin'. The drawing, especially since it corresponds in date and transposition, is suggestive of a preparatory exercise prior to this self-portrait.

“46 Mille Vue” is a named, but unsigned close-up portrait that was originally attributed to French artist Édouard Manet, but some historians now attribute it as a self-portrait by Manet’s only formal pupil, French artist Eva Gonzalès. With her dark hair styled elaborately in an updo with curls and ringlets, the woman’s expression is somewhat whimsical, as she rests her chin on her left fist prominently displaying a gold band on her wedding finger. Other jewelry includes gold drop earrings, a black choker-style necklace, and a gold bracelet on her wrist. She is wearing a dark blue dress with a white lace collar at the neckline and cuffs. Attribution to Gonzalès includes anomalies of symmetry and isolation of a tiny mole (or “fairy-kiss”) 1cm below left lip, present in Manet's and Gonzalès’ sister Jeanne's portraits and hi-res photos which confirm the image is a mirror reflection. Her “maiden fringe” attire and wedding gold band suggest the painting was soon after Gonzalès 1879 marriage to Henri Guérard, a graphic artist and Manet's engraver. The date would commemorate exactly 10 years of association between Gonzalès and her Tutor. The self-portrait was reportedly a gift to Manet which would reciprocate Manet's gift to Gonzalès of his first portrait of her. The inscription “Mille Vue” (Thousandth Look) is preceded with value “46” apparently signifying Gonzalès’ 46th finished portrait since her first collaboration with Manet: from number 1 “Une Femme” going to numbers 47, 48, and 49 which are the post-nuptial trio “Une Mariee,” “La Demoiselle d'Honnour,” and “La Mariee.” The preceding portrait, number 45, is a departure from Eva's abstract views of her sister Jeanne, where Gonzalès depicts the direct, powerful gaze of an innocent child in 'Mlle Sarrasin'. The drawing, especially since it corresponds in date and transposition, is suggestive of a preparatory exercise prior to this self-portrait.

46 Mille Vue (46 Thousandth Look) aka Autoportrait (Self-Portrait) attributed to Eva Gonzalès (French) - Oil on canvas / 1879 #WomenInArt #art #WomanArtist #FemaleArtist #ArtText #PortraitofaWoman #WomensArt #SelfPortrait #EvaGonzalès #EvaGonzales #artwork #FrenchArtist #WomenArtists #autoportrait

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Eva Gonzalès was French artist Édouard Manet’s only formal pupil as well as a successful artist and a regular exhibitor at the Salon herself. This portrait was started in the summer of 1869, finished in March 1870, and shown at the Salon the same year.

Manet had painted other artists, but this portrait is unusual in that it shows Gonzalès painting at her easel. That work on the easel, already finished and framed, is a copy after an etching by the Franco-Flemish flower painter Jean-Baptiste Monnoyer.

A half-rolled print carrying Manet’s signature lies on the floor, a reminder of his role as her teacher. Near it, on the floor, lies a white peony at the hem of the dress. Her pose, along with the white dress and the fluidity of the brushstrokes, recall 18th-century self portraits by women: showing themselves at their easels, dressed in beautiful, often white gowns.

Here, her flowing white dress fills the composition, its brightness heightened by the dark background so that it becomes a source of illumination in its own right. Of white cotton, it is actually a bodice and skirt, the former composed of a white corsage that finishes low on the back, overlaid with a transparent muslin formed into a square, low‐cut neck, trimmed with a ruffle of pleated fabric, and short puffed sleeves. The skirt is bordered with a fashionable flounce. At her waist is tied a black, possibly velvet, sash with fringed ends. White muslin dresses, with contrasting belts and transparent sleeves, were very fashionable in the 1860s.

Her hairstyle is similarly fashionable, with some hair piled up on top of her head, some tresses left flowing, and a couple of curls framing her forehead: a “coiffure à l’imperatrice,” popularized by Empress Eugénie.

Gonzalès sits on a faux bamboo chair with a rattan seat atop a floral‐patterned pale blue carpet. Resting against her chair is a portfolio on its side, its handles in cream paint. In her left hand, she holds her palette, three brushes and a mahlstick.

Eva Gonzalès was French artist Édouard Manet’s only formal pupil as well as a successful artist and a regular exhibitor at the Salon herself. This portrait was started in the summer of 1869, finished in March 1870, and shown at the Salon the same year. Manet had painted other artists, but this portrait is unusual in that it shows Gonzalès painting at her easel. That work on the easel, already finished and framed, is a copy after an etching by the Franco-Flemish flower painter Jean-Baptiste Monnoyer. A half-rolled print carrying Manet’s signature lies on the floor, a reminder of his role as her teacher. Near it, on the floor, lies a white peony at the hem of the dress. Her pose, along with the white dress and the fluidity of the brushstrokes, recall 18th-century self portraits by women: showing themselves at their easels, dressed in beautiful, often white gowns. Here, her flowing white dress fills the composition, its brightness heightened by the dark background so that it becomes a source of illumination in its own right. Of white cotton, it is actually a bodice and skirt, the former composed of a white corsage that finishes low on the back, overlaid with a transparent muslin formed into a square, low‐cut neck, trimmed with a ruffle of pleated fabric, and short puffed sleeves. The skirt is bordered with a fashionable flounce. At her waist is tied a black, possibly velvet, sash with fringed ends. White muslin dresses, with contrasting belts and transparent sleeves, were very fashionable in the 1860s. Her hairstyle is similarly fashionable, with some hair piled up on top of her head, some tresses left flowing, and a couple of curls framing her forehead: a “coiffure à l’imperatrice,” popularized by Empress Eugénie. Gonzalès sits on a faux bamboo chair with a rattan seat atop a floral‐patterned pale blue carpet. Resting against her chair is a portfolio on its side, its handles in cream paint. In her left hand, she holds her palette, three brushes and a mahlstick.

Eva Gonzalès by Édouard Manet (French) - Oil on canvas / 1870 - The National Gallery (London, UK) #WomenInArt #Art #ArtText #PortraitofaWoman #OilPainting #ÉdouardManet #EdouardManet #Manet #EvaGonzalès #EvaGonzales #TheNationalGallery #NationalGalleryofArt #artwork #womensart #FrenchArtist #painter

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Mary Cassatt, Lady at the Tea Table (1883-85). Oil on canvas, 73.7 x 61 cm. Metropolitan Museum of Art, U.S.A.
#ahimaov #arthistory #marycassatt #impressionism #impressionistart #americanimpressionism #berthemorisot #mariebracquemond #evagonzales

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According to the AIC object page, this painting “…features a dramatically lit female figure, rendered in loose brushstrokes, emerging from a dark background. Rather than portraying her model as a contemporary woman, Eva Gonzalès dressed her as an 18th-century servant girl, denoted by her frilled linen cap; loose, striped gown; and rolled-up sleeves.” The sitter wears a black-and-white striped smock over a white blouse, with sleeves rolled up around her biceps. Her brown hair is swept up under a white cap with a black ribbon. Her hands rest in front of her on a surface, with her left hand, which holds a knife upright, resting over her right wrist. In front of her are 5 bright red cherries. Her body faces the right edge of the painting, but her face turns over her right shoulder to meet the viewer’s gaze.

According to the AIC object page, this painting “…features a dramatically lit female figure, rendered in loose brushstrokes, emerging from a dark background. Rather than portraying her model as a contemporary woman, Eva Gonzalès dressed her as an 18th-century servant girl, denoted by her frilled linen cap; loose, striped gown; and rolled-up sleeves.” The sitter wears a black-and-white striped smock over a white blouse, with sleeves rolled up around her biceps. Her brown hair is swept up under a white cap with a black ribbon. Her hands rest in front of her on a surface, with her left hand, which holds a knife upright, resting over her right wrist. In front of her are 5 bright red cherries. Her body faces the right edge of the painting, but her face turns over her right shoulder to meet the viewer’s gaze.

Girl with Cherries, c. 1870, by #EvaGonzales (French, 1849-83), who was born #otd, Apr 19. Held by the @artinstitutechi.bsky.social, www.artic.edu/artworks/366... #artherstory #womenartists

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Eva Gonzalès #evagonzales

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Eva Gonzalès #evagonzales

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Eva, la seule élève de Manet

#art #painting #evagonzales #petitpalais #paris #parismaville #etc

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White Shoes by Eva Gonzales (1849 - 1883)

#art #arthistory #culture #paintings #painting #evagonzales

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La Psyché (The Full-length Mirror), 1869‒70, by #EvaGonzales (French, 1849-1883), who was born #otd, Apr 19. Just acquired by the National Gallery, London; source, www.theartnewspaper.com/2024/04/18/l... #womenartists #artherstory

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