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#french artists
thefugitivesaint · 6 months
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Vitali, 'Chasseur nocturne' (Night Hunter'), 2023 Source
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(detail) Nu Allongé, 1918 Delphin Enjolras (French, born in 1857)
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the-cricket-chirps · 7 months
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Claude Monet, The Studio Boat, 1874
(Monet’s floating “studio” in Argenteuil)
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diana-andraste · 5 days
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Étude d'après nature, Alexandre Quinet and Paul Baudry, c. 1857
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psycheophiuchus · 10 months
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"Dans un Jardin de Roses" - 2021.
Photographer & Model : Psyché Ophiuchus
Jewelry : @aurumina
Robe : @grimildemalatesta & Psyché O.
The magnificent @villaephrussi de Rothschild, Saint-Jean-Cap-Ferrat.
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resplendentoutfit · 3 months
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The painting: Claude Monet (French, 1848-1928) • Women in the Garden • 1866 • Musée d’Orsay, Paris
The Dress: Day Dress • American • 1862–64 • White cotton piqué with black soutache • The Metropolitan Museum of Art, New York
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The Painting: Claude Monet (French, 1848-1928) • Portrait of Madame Gaudibert • 1868
The outfit: French ensemble • 1865/67 • Gray silk faille with cashmere shawl from India • Usually worn over the shoulders or in the crook of the arms • Metropolitan Museum of Art
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The painting: Paul-Albert Bartholomé (French, 1848-1928) • In the Greenhouse • 1881 (the sitter is Bartholomé's wife)
The dress: Sewn from white cotton printed with purple stripes and dots, this summer gown was made by an unknown French seamstress around 1880.
These three paintings and their companion outfits were part of a large exhibition, Impressionism, Fashion, and Modernity, at The Metropolitan Museum of Art, New York, February, 2013.
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belle-keys · 6 months
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Artists: Michel-Jean Cazabon (1813-1888)
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femmefatalevibe · 8 months
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French Girl Pre-Fall 2023: Top Current French Songs/Playlist
Alors la zone by Jul
POPOPOP by Gambi
Moulaga by Heuss L'enfoiré et Jul
Wati House by Sexion d'Assaut
Je pense à toi by Hornet La Frappe
Pas l'time by L.E.J.
Ça fait pas mal by Squeezie
Fais-les danser by Mac Tyer et KeBlack
Basique by Orelsan
Game Over by Vitaa et GIMS
Catchu Catchu by Lartiste
Ce soir ne sors pas by Lacrim
La Favorite by Ogee
Saiyan by Heuss L'enfoiré
Gramme 2 Peuf by Hornet La Frappe
Chuis Bo! by Pzk
Et alors! by Shy'm
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bugeater-420 · 6 months
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The Vision and Inspiration (Joan of Arc series: I), c. 1907-early 1909 by Louis-Maurice Boutet de Monvel, from the National Gallery of Art
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uwmspeccoll · 1 year
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Fine Press Friday! 
Our Limited Editions Club Shakespeare series keeps giving us more artists to look for in our collection! This week we found Carmen, by Prosper Mérimée (1803-1870) illustrated by French-born American painter and illustrator, Jean Charlot (1898-1979), published by the Limited Editions Club, New York, in 1941 in an unstated limited edition of 1500 copies signed by the artist. We learned about this edition because of the post we did a couple of weeks ago on Charlot’s illustrated edition of Shakespeare’s Henry VI, Part 3.
Mérimée’s 1846 novel about the eponymous Romani beauty, is most popularly well known from Georges Bizet’s famous opera of the same name, which is based on Part III of Mérimée’s story. The action is set in 1830s Andalusia, but Jean Charlot’s illustrations gives the story a Mexican flavor. Charlot worked mainly in Mexico and was a member of the Mexican Muralist Movement, sharing a studio with Fernando Leal who is considered to be one of the first Mexican Muralists. It was after the Mexican Revolution (1910-1917) that the new government sought to use murals to educate the public on social justice issues. From a young age, Charlot was fascinated by Mexican art and pre-Columbian artefacts and his mature work reflects this fascination, including in these illustrations.
The thirty-seven multi-layered color lithographs, which Charlot drew directly on the printing matrix, feel like miniature frescoes. Charlot laid down quick marks to color large areas of the image, which layer in overlapping color to give the image a lively energy. One could easily imagine one of the illustrations used as a page header as a mural above a doorway, signaling a transition. Or, one of the larger full-page illustrations as a mural on a large wall. I am taken by how these illustrations function well in both architectural and book spaces. The book is architecture.  
The lithographs were printed by Charlot’s friend Albert Carman in New York and the type is 18-point Linotype Bodoni printed by Aldus Printers in New York. . The paper was made by the Worthy Paper Company, was watermarked with the name of the book and the covers are wrapped in a vibrant hand-blocked color silk.
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View more Limited Edition Club posts.
View more Fine Press Friday posts.
– Teddy, Special Collections Graduate Intern
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thefugitivesaint · 11 months
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George Barbier (1882-1932, 'Der Tanz I' & ‘Der Tanz II’, ''Dekorative Vorbilder'', Vol. 23, 1912.
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(details) A still life with a bust of Bacchus, a dish of fruit, large platters and two figures looking on Jean-Baptiste Belin de Fontenay (French, born in 1653)
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the-cricket-chirps · 7 months
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Édouard Manet
Claude Monet in Argenteuil
1874
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diana-andraste · 2 months
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Self-portrait with mask, Claude Cahun, c. 1928
The charm of the mask inspires petty romantic souls, but wearing the mask plays into the hands of those who, for material or psychological reasons, have an interest in not behaving in an open-faced way.
Masks are made of different quality materials: cardboard, velvet, flesh, the Word. The carnal mask and the verbal mask are worn in all seasons. I soon learned to prefer to all others these off-the-market stratagems. You study yourself, you add a wrinkle, a fold at the corner of the mouth, a look, an intonation, a gesture, even a muscle. . . . You create for yourself several clearly defined vocabularies, several syntaxes, several ways of being, thinking, and even feeling—from which you'll choose a skin the color of time . . .
This game is so engaging that it'll soon rob you of the means to cause harm (or to live, as you please). A coin out of circulation. Devoid of social value. Disgusted with its ruts, the train car leaves its rails and falls over on its side. So, all it takes is for the flesh to make way for the spirit (that being the logical progress of evil). From now on, at the roll call you'll only be able to answer "absent," you'll be incapable of taking lessons, and you'll be able to make love only by correspondence. . . .
In front of the mirror, on a day full of enthusiasm, you put your mask on too heavily, it bites your skin. After the party, you lift up a corner to see . . . a failed decal. With horror you see that the flesh and its mask have become inseparable. Quickly, with a little saliva, you reglue the bandage on the wound.
"I remember, it was Carnival time. I had spent my solitary hours disguising my soul. Its masks were so perfect that when they happened to run into each other on the plaza of my consciousness, they didn't recognize one another. I adopted the most surly opinions, one after another: those that displeased me the most were the most certain of success. But the facepaints that I'd used seemed indelible. To clean them off, I rubbed so hard that I took off the skin. And my soul, like a face galled to the quick, no longer resembled human form."
Can they say "Well done!" when such suffering seems artificial? It isn't enough to be good for clumsy sparrows, you must be able to help mechanical birds take flight. More burdensome than pain, perhaps they'll traverse either time or space.
Claude Cahun, Captive Balloon Translated from the French by Myrna Bell Rochester
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"Le Printemps" by Eugène Bidau, 1896
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toutpetitlaplanete · 9 months
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Albert Marquet - Tempête à la Goulette, 1926
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