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Henri Gervex, Cinq heures chez Paquin, 1906, oil on canvas, 172 x 113 cm, Private Collection

Henri Gervex, Cinq heures chez Paquin, 1906, oil on canvas, 172 x 113 cm, Private Collection

Walter Goodman British, 1838 - 1912 "The Printseller's Window", 1883 British Painting Oil on canvas 52 1/4 in. x 44 3/4 in. (132.72 cm x 113.67 cm) Marion Stratton Gould Fund, 98.75 Currently on View. Learn More: http://magart.rochester.edu/PRT2070?sid=481=20399=91

Walter Goodman British, 1838 - 1912 "The Printseller's Window", 1883 British Painting Oil on canvas 52 1/4 in. x 44 3/4 in. (132.72 cm x 113.67 cm) Marion Stratton Gould Fund, 98.75 Currently on View. Learn More: http://magart.rochester.edu/PRT2070?sid=481=20399=91

Francis William Edmonds (American, 1806–1863). The New Bonnet, 1858. The Metropolitan Museum of Art, New York. Purchase, Erving Wolf Foundation Gift and Gift of Hanson K. Corning, by exchange, 1975 (1975.27.1) #dogs

Francis William Edmonds (American, 1806–1863). The New Bonnet, 1858. The Metropolitan Museum of Art, New York. Purchase, Erving Wolf Foundation Gift and Gift of Hanson K. Corning, by exchange, 1975 (1975.27.1) #dogs

Louis Léopold Boilly (French, 1761–1845). The Public Viewing David’s "Coronation" at the Louvre, 1810. The Metropolitan Museum of Art, New York. Gift of Mrs. Charles Wrightsman, 2012 (2012.156) #paris

Louis Léopold Boilly (French, 1761–1845). The Public Viewing David’s "Coronation" at the Louvre, 1810. The Metropolitan Museum of Art, New York. Gift of Mrs. Charles Wrightsman, 2012 (2012.156) #paris

G. Baker (active ca. 1870–1900). New York Harbor with Brooklyn Bridge, after 1869. The Metropolitan Museum of Art, New York. Gift of Mary Knight Arnold, 1977 (1977.258.2) #newyork #nyc

G. Baker (active ca. 1870–1900). New York Harbor with Brooklyn Bridge, after 1869. The Metropolitan Museum of Art, New York. Gift of Mary Knight Arnold, 1977 (1977.258.2) #newyork #nyc

James Peale (American, 1749–1831). Still Life: Balsam Apple and Vegetables, ca. 1820s. The Metropolitan Museum of Art, New York. Maria DeWitt Jesup Fund, 1939 (39.52) | With its focus on lavish vegetable forms, this work resembles still lifes of the Spanish school.

James Peale (American, 1749–1831). Still Life: Balsam Apple and Vegetables, ca. 1820s. The Metropolitan Museum of Art, New York. Maria DeWitt Jesup Fund, 1939 (39.52) | With its focus on lavish vegetable forms, this work resembles still lifes of the Spanish school.

Attributed to Jean-Augustin Franquelin (French, Paris 1798–1839 Paris). The Mariner's Wife. The Metropolitan Museum of Art, New York. The Whitney Collection, Promised Gift of Wheelock Whitney III, and Purchase, Gift of Mr. and Mrs. Charles S. McVeigh, by exchange, 2003 (2003.42.31) #halloween #costume

Attributed to Jean-Augustin Franquelin (French, Paris 1798–1839 Paris). The Mariner's Wife. The Metropolitan Museum of Art, New York. The Whitney Collection, Promised Gift of Wheelock Whitney III, and Purchase, Gift of Mr. and Mrs. Charles S. McVeigh, by exchange, 2003 (2003.42.31) #halloween #costume

F. Luis Mora (American (born Uruguay), 1874–1940). Mrs. F. Luis Mora and Her Sister, 1902. The Metropolitan Museum of Art, New York. Gift of Margaret and Raymond J. Horowitz, 1965 (65.237)

F. Luis Mora (American (born Uruguay), 1874–1940). Mrs. F. Luis Mora and Her Sister, 1902. The Metropolitan Museum of Art, New York. Gift of Margaret and Raymond J. Horowitz, 1965 (65.237)

John and Louisa Stock by Joseph Whiting Stock, 1845 US (Massachusetts), the Metropolitan Museum of Art   When the Museum acquired this portrait, the sitters were mistakenly identified as the artist’s children; however, Stock, a paraplegic injured in an accident when he was eleven years old, never married. He painted only five portraits of this size before 1846, when his diary entries cease. One such canvas, almost certainly this one, depicted “John & Louisa Stock in group.&rd...

John and Louisa Stock by Joseph Whiting Stock, 1845 US (Massachusetts), the Metropolitan Museum of Art When the Museum acquired this portrait, the sitters were mistakenly identified as the artist’s children; however, Stock, a paraplegic injured in an accident when he was eleven years old, never married. He painted only five portraits of this size before 1846, when his diary entries cease. One such canvas, almost certainly this one, depicted “John & Louisa Stock in group.&rd...

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