Boston - Musee des Beaux Arts (Museum of Fine Arts) ()
Le musée des beaux-arts de Boston (Museum of Fine Arts, Boston), dans le Massachusetts, est l'un des plus grands musées des États-Unis. L'institution fut fondée en 1870 et ouvrit en 1876, après avoir emprunté une grosse partie des collections du Boston Athenæum. Le musée a emménagé dans ses locaux actuels de l'avenue Huntington en 1909.
Ses collections sont variées ; parmi les domaines les mieux représentés figurent l'Antiquité, notamment de l'Ancien Empire égyptien, et la peinture française de la fin du xixe siècle, avec par exemple la grande toile de Gauguin D'où venons-nous ? Que sommes-nous ? Où allons-nous ?.
Boston - Museum of Fine Art ()
Le musée des beaux-arts de Boston (Museum of Fine Arts, Boston), dans le Massachusetts, est l'un des plus grands musées des États-Unis. L'institution fut fondée en 1870 et ouvrit en 1876, après avoir emprunté une grosse partie des collections du Boston Athenæum. Le musée a emménagé dans ses locaux actuels de Huntington Avenue en 1909.
Ses collections sont variées ; parmi les domaines les mieux représentés figurent l'Antiquité, notamment de l'Ancien Empire égyptien, et la peinture française de la fin du xixe siècle, avec par exemple la grande toile D'où venons-nous ? Que sommes-nous ? Où allons-nous ? de Paul Gauguin.
Ito Jakuchu - White Cockatoo on a Pine Branch (1760)
John Henry Dearle for Morris - Tapestry- Greenery (1892)
art de la tapisserie - John Henry Dearle for Morris - Tapestry- Greenery 1892 Museum of Fine Arts, Boston.jpg
Tapisserie - Narcisse (1500)
art egyptien - tete du roi Toutankhamon (1336 B.C. - 1327 B.C.) ()
This sandstone head depicts the triangular face and recognizable features of Tutankhamen, whose tomb was discovered almost intact in 1922. In the center of the brow is a socket for the addition of a uraeus serpent, symbol of royalty, in another material. On top of the head is the lower portion of the double crown of Upper and lower Egypt, still preserving traces of the original red pigment.
art egyptien - Relief of Akhenaten as a sphinx (1349 B.C. - 1336 B.C.) ()
The association of royalty with the majestic and powerful lion can be traced back to the earliest periods. The human-headed lion, or sphinx, was also identified with aspects of the sun god. In this example, King Akhenaten crouches before a table of offerings. He presents cartouches, or oval rings, with the names of his solar god, the Aten. This god is represented by the sun's disk shedding its rays over the whole scene. Relief fragments similar to this one are in Hanover, Geneva and Brooklyn; a number of them were excavated at Akhenaten's own capital city of Akhet-aten (modern el-Amarna). They were found in place as doorjambs and suggest that this piece also served a similar purpose.
art egyptien - Relief of Akhenaten as a sphinx (1349 B.C. - 1336 B.C.) Museum of Fine Arts, Boston.jpg
art perse - Relief of a Persian guard (486 B.C. - 464 B.C.) ()
This figure, wearing a quiver and bowcase over his shoulder and a high fluted hat, is a member of the elite guard of the Persian king, the so-called "Ten Thousand Immortals." Presented in profile, with frontal eye and distinctly aquiline nose, the figure gives the impression of calm nobility. Traces of pigment on similar reliefs indicated that this figure must once have been painted with brilliant hues of yellow, blue, and purple. This particular fragment was part of a long frieze at Xerxes' palace that portrayed a single file of the "immortals."
art perse - Striding lion (604 B.C. - 561 B.C.) ()
Excavated in 1899 at Babylon by a German expedition under the direction of Robert Koldewey, this panel was one of the 120 similar reliefs that included lions, bulls and dragons. The relief symbolizes life and death, and once decorated the walls along the processional way leading from the Ishtar Gate to the great temple of Marduk, suggested to be the famed "Tower of Babel." A reconstruction of the Ishtar Gate is now in Berlin.
art inde - Torso of a fertility goddess (yakshi), (25 B.C. - 25 A.D.) ()
art pre-historique - Torso of a fertility goddess (yakshi), (25 B.C. - 25 A.D.) Museum of Fine Arts, Boston.jpg
Dirck van Baburen - The Procuress (1622)
Canaletto - Bacino di San Marco, Venice (1738)
Affluent eighteenth-century visitors to the enchanting city of Venice delighted in taking home painted topographical views known as vedute. Canaletto, one of the foremost vedute painters, here animates the entrance to Venice with cargo boats and gondolas that lead the eye back to precisely rendered buildings along the shore. Clearly identifiable are the gothic intricacies of the Doge's palace at left and the church of San Giorgio Maggiore at right. Light from the cloudy sky, dappling the water with shadow, gives the view grandeur and unity.
Canaletto - Bacino di San Marco, Venice (ddetail 1) ()
Canaletto - Bacino di San Marco, Venice (detail 2) ()
Canaletto - Bacino di San Marco, Venice (detail 3) ()
Mary Stevenson Cassatt - In the Loge (1878)
In the late 1870s, when she first exhibited with the Impressionists, Cassatt painted several images of the theater, a popular entertainment in Paris. Unlike her friend Edgar Degas, Cassatt focused on the spectators rather than the performers, exposing the dramas in the audience. In the Loge explores the act of looking: a distant man (at right) watches the woman in black who stares through her opera glasses at another spectator. This series of glances evokes Cassatt's own studious observation as she produced the picture. Despite the man's intense gaze, the woman in black is not merely an object of his desire. Her own actions emphasize her independence and reflect the increasing social freedom accorded modern women.
Edgar Degas - At the Races in the Countryside (1869)
This painting was one of the first works that Degas sold (in 1872) to Paul Durand-Ruel, the dealer who became the early champion of the Impressionists. It is not only a landscape but also a scene from everyday life and - most of all - a family portrait. The driver of the carriage is Degas's friend Paul Valpinçon, who is shown with his wife, a wet nurse, and in the nurse's lap, the couple's son, Henri.
Edgar Degas - visite au musee (1879)
Albrecht Durer - The Fall of Man (Adam and Eve) (1504)
Thomas Eakins - Starting Out After Rail (1874)
Winslow Homer - The Blue Boat (1892)
Winslow Homer - The Fog Warning (1885)
Edward Hopper - Hill and Houses, Cape Elizabeth, Maine (1927)
George Benjamin Luks - a clown (1929)
Edouard Manet - Victorine Meurent (1862)
Edouard Manet - Street Singer (1862)
Jean-Francois Millet - Study for Man with a Wheelbarrow (1855)
Jean-Francois Millet - le semeur (1850)
Jean-Francois Millet - Potato Planters (1861)
Maurice Brazil Prendergast - Umbrellas in the Rain (1899)
Maurice Brazil Prendergast - Sunlight on the Piazzetta (1898)
Pierre-Auguste Renoir - Boating Couple (said to be Aline Charigot and Renoir) (1881)
Pierre-Auguste Renoir - Children on the Seashore, Guernsey (1883)
Pierre Auguste Renoir - jeune fille algerienne (1881)
John Singer Sargent - The Tease (1911)
John Singer Sargent - The Garden Wall (1910)
John Singer Sargent - Fishing for Oysters at Cancale (1878)
John Singer Sargent - An Artist in His Studio (1904)
This picture represents the Italian painter Ambrogio Raffele, with whom Sargent vacationed in the Italian Alps. Raffele is using his tiny hotel room as a studio; he and his landscape painting are shifted to the left corner, and much of this composition is given over to laundry and rumpled bed linens. The London Times wrote admiringly, "Surely, never were tumbled white sheets so painted before." The pictorial challenge of painting white on white is one Sargent particularly enjoyed; he handled it with extraordinary bravura here. Purchased by the MFA the year after it was completed, An Artist in His Studio was the first painting by Sargent to be acquired by an American museum.
Egon Schiele - Schiele's Wife with Her Little Nephew (1915)
Jean Jacques Joseph Tissot - The Circus Lover (1885)
Henri de Toulouse-Lautrec - divan japonais (1893)
Nineteenth-century guidebooks described Paris as “the capital of pleasure,” with its thousands of theaters, dance halls, cafés, circuses, racetracks, and other entertainments. Posters advertising these amusements were made possible by the development of color lithography, a process capable of producing large editions of high-quality prints. The clever, eye-catching posters of Toulouse-Lautrec—with their stylized shapes and flat areas of color—immortalized such places as the cabaret Divan Japonais. Here, seated in the audience are the popular dancer Jane Avril and the critic Edouard Dujardin. In the background, beyond the musicians, is the singer Yvette Guilbert, instantly recognizable although the artist does not show her face. A journalist described Guilbert: “She has no bosom to speak of and her chest is quite extraordinarily narrow. She has long—too long—thin arms clad in high black gloves that look like flimsy streamers.”