Photograph Credits

Garb, Tamar

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Photograph Credits

Tamar Garb

The Painted Face: Portraits of Women in France, 1814–1914

Photography Credits

Author

Tamar Garb

PublisherYale University Press

Stable URL: https://aaeportal.com/?id=-22351

Photograph Credits

1, 3, 17, 18, 19, 20, 29, 30, 34, 35, 37, 38, 39, 45, 47, 48, 51, 53, 56, 58, 59, 65, 75, 78, 89, 90, 92, 96, 99, 100, 101, 103, 105, 106, 118, 139, 140, 142, 144, 146, 147, 148, 149, 155, 159, 160, 163, 191, 193, 195, 198, 200, 202, 209, 213, 207: Photo © RMN; 2, 8, 9, 10, 12, 71, 182, 205, 206, 210, 212, 203, 229: Bibliothèque nationale de France; 4, 32, 33, 36, 143, 145: Alinari; 5, 6: Hamburg, Kunsthalle; 7: Fogg Art Museum, Harvard University Art Museums, USA; 11, 15, 28, 44 (Gift of the Joseph and Helen Regenstein Foundation), 113 (Mr. and Mrs. Lewis Lamed Coburn Memorial Collection), 116 (Gift of Mrs. Albert J. Beveridge in memory of her aunt, Delia Spencer Field), 117 (William H. Noble Bequest Fund), 121, 132, 135, 166 (Wilson L.Mead Fund), 167 (Gift of Mrs. Gilbert W. Chapman in memory of Charles B. Goodspeed): The Art Institute of Chicago; 13, 150: The Samuel Courtauld Trust, Courtauld Institute of Art Gallery, London; 14, 16, 62, 63, 108, 109, 117, 119, 133, 136, 134, 127, 161, 178, 181: The Bridgeman Art Library; 21: V&A Images; 22, 23, 52, 66, 81, 91, 93: The National Gallery, London; 25, 185: The Frick Collection, New York; 26, 64: The Detroit Institute of Arts; 31, 194: Tate, London, 2006; 39, 40: Fogg Art Museum, Harvard University Art Museums, USA; 42: The Norton Simon Art Foundation; 43: Georgia Museum of Art, University of Georgia; 46, 49, 50; Montauban, Musée Ingres; 55, 58, 77: Musée de la Ville de Paris, Musée du Petit-Palais, France, photo Giraudon/The Bridgeman Art Library; 60, 61, 94, 102, 131, 137, 141, 151, 154, 175, 176, 159, 179, 183, 187, 215: photo © The Metropolitan Museum of Art, New York; 67, 114, 158, 228: Museum of Fine Arts, Boston; 70: Stockholm, National Museums; 72: Amsterdam, Peter Gottmer Collection; 76: Courtesy of the Hispanic Society of America, New York; 80: Museo Nacional del Prado, Madrid; 95: The Royal Collection © Her Majesty Queen Elizabeth II; 97, 129, 130: Fine Arts Museums of San Francisco, William H. Noble Bequest Fund; 98: Guildhall Library, London; 104: Collection of the Flint Institute of Arts; 107, 153: National Gallery of Art, Washington; 111: National Gallery of Art, Washington/Bridgeman Art Library; 112: The Metropolitan Museum of Art, Gift of Louise Senff Cameron; 115: Joslyn Art Museum, Omaha, Nebraska; 120: Musée des Beaux-Arts, Pau, France, Giraudon/The Bridgeman Art Library; 138: The National Gallery of Ireland; 161: photo © The Barnes Foundation, Merion, Pennsylvania, USA/The Bridgeman Art Library; 164, 174, 196: Scala, Florence; 165: Columbus Museum of Art, Ohio; 169: The State Pushkin Museum of Fine Arts, Moscow; 170: The Museum of Modern Art, New York/Scala, Florence; 171: Solomon R. Guggenheim Museum, New York; 173: Collection Oskar Reinhart ‘Am Römerholz’, Winterhur, Switzerland; 184: Musée d’art d’histoire, Ville de Genève; 186, 188, 197, 220, 221, 223, 216, 227, 231: The State Hermitage Museum, St. Petersburg; 208: The J. Paul Getty Museum, Malibu, California; 218: San Francisco Museum of Modern Art; 224, 226: The Barnes Foundation, Merion, Pennsylvania, USA

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Book details

BOOKThe Painted Face: Portraits of Women in France, 1814–1914

Tamar Garb

https://doi.org/10.37862/aaeportal.00298

Stable URL: https://aaeportal.com/?id=-22341

The meaning of a painted portrait and even its subject may be far more complex than expected, Tamar Garb reveals in this book. She charts for the first time the history of French female portraiture from its heyday in the early nineteenth century to its demise in the early twentieth century, showing how these paintings illuminate evolving social attitudes and aesthetic concerns in France over the course of the century.

The author builds the discussion around six canonic works by Ingres, Manet, Cassatt, Cézanne, Picasso, and Matisse, beginning with Ingres’s idealized portrait of Mme de Sennones and ending with Matisse’s elegiac last portrait of his wife. The chapters offer meditations on these individual paintings, each of which dramatises in its own way the historical place of portraiture and the modern construction of the feminine. During the hundred years that separate these works, the female portrait went from being the ideal genre for the expression of painting’s capacity to describe and embellish “nature,” to the prime locus of its refusal to do so. Picasso’s Cubism, and specifically Ma Jolie, provides the fulcrum of this shift.

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Author

Tamar Garb

PublisherYale University Press

Print publication date September 2007 (out of print)

Print ISBN 9780300111187

EISBN 9780300269178

Illustrations 231

Print Status out of print

Publisher (out of print)

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