Art Institute of Chicago, Картина
После боя быков
Mary Cassatt, 1873
Данные: Art Institute of Chicago (открытые данные музея)
Музейные сведения
Источник: Art Institute of Chicago
- Автор
- Мэри Кассат (американка, 1844-1926)
- Дата создания
- 1873
- Место создания
- Севилья
- Материалы и техника
- Холст, масло
- Размеры
- 110.5 × 93.4 cm (43 1/2 × 36 3/4 in.)
- Стиль
- Импрессионизм
- Тип произведения
- Картина
- Классификация
- картина
- Отдел
- Искусство Северной и Южной Америки
- Место в музее
- Галерея 182
- Инвентарный номер
- 1969.332
- Надписи
- Подпись справа налево, внизу, краской: "М.С.К. / Севилья / 1873".
- Credit line
- Завещание миссис Стерлинг Мортон
- Статус прав
- Общественное достояние. Изображение действительно по лицензии CC0.
- Страница в музее
- Art Institute of Chicago (откроется в новой вкладке)
О произведении
Перевод подробных сведений загружается…Краткое описание музея
Мэри Кассат выбрала типично испанскую тематику, исполнив эту композицию, изображающую тореадора, или тореро, при полном параде во время длительного пребывания в Севилье. Пройдя обучение в Филадельфии и Париже, Кассат отправился в Испанию, чтобы изучить произведения эпохи Возрождения и барокко и пройти путь французских художников-авангардистов, таких как Эдуард Мане.
Музейное описание
During her first years as a professional artist, Cassatt traveled largely on her own to study European art, including an extended stay in Italy and Spain in 1872–73. She looked especially to Renaissance and Baroque art of the 15th to 17th centuries and to the avant-garde explorations of her French contemporaries for inspiration. Cassatt harmonized these various elements in After the Bullfight, executed in Seville: The figure’s controlled, tonal modeling recalls that of Spanish Baroque painter Diego Velázquez, and the dynamic flourishes of rich pigment describing the bullfighter’s regalia evoke the modernist techniques of Frenchman Édouard Manet.
Текст описания © Art Institute of Chicago, лицензия CC BY 4.0.
Провенанс (история владения)
The artist, Paris; with Hermann Teubner (1824–1888), Philadelphia, by Apr. 1878 [Pennsylvania Academy of Fine Art 1878]; [returned to artist]; with Mrs. M. A. Mitchell, June 1878 [Massachusetts Charitable Mechanics Association 1878, 48; Mathews, ed. 1984, 138]; returned to the artist, after Oct. 1878; sold to John Ruderman, Montclair, NJ [this and the following according to Hirschl & Adler Galleries 1959, 8]. Lewis Padawer (1906–1975) and Rose Padawer (1906–2013; born Anolik), New York, by Jan. 1957. John J. Cunningham, New York, by Sept. 1959 [this and the following according to letter from Norman Hirschl, Feb. 13, 1979; copy in curatorial object file]; sold to Hirschl & Adler Galleries, New York, Sept. 1959; sold to Sterling Morton (1885–1961) and Sophia P. Morton (1890–1969; born Sophia Preston Owsley; also Mrs. Sterling Morton), Chicago, Oct. 26, 1959 [letter from Norman Hirschl, Nov. 21, 1978; copy in curatorial object file]; to Sophia Morton, Chicago, from 1961; bequeathed to the Art Institute of Chicago, 1969.
Источник: Art Institute of Chicago
История выставок
Philadelphia, Pennsylvania Academy of the Fine Arts, Forty-Ninth Annual Exhibition of the Pennsylvania Academy of the Fine Arts, Apr. 22–June 1, 1878, cat. 192, as Spanish Matador.
Boston, Massachusetts Charitable Mechanics Association, Thirteenth Exhibition of the Department of Fine Arts of the Massachusetts Charitable Mechanics Association, Sept. 2–Oct. 1878, cat. 176, as After the Bull-Fight.
New York, Waldorf-Astoria Hotel, Sixty-Eight Great Paintings, Jan. 17, 1957, no. 9, no cat (organized by the Federation of Jewish Philanthropies, Manhattan Women's Division).
Art Institute of Chicago, Treasures of Chicago Collectors, Apr. 15–May 7, 1961, no cat. no., as Toreador.
Art Institute of Chicago, Oils, Pastels, Prints, and Drawings by Mary Cassatt, July 1–Sept. 5, 1966, no cat., as Toreador.
Washington, DC, National Gallery of Art, Mary Cassatt, 1844–1926, Sept. 27–Nov. 8, 1970, cat. 2, as Toreador.
Art Institute of Chicago, Art at the Time of the Centennial, June 19–Aug. 15, 1976, no cat., as Torero.
Albi, France, Musée Toulouse-Lautrec, Trésors Impressionnistes du Musée de Chicago, June 27–Aug. 31, 1980, cat. 42, as Torero.
Williamstown, MA, Sterling and Francine Clark Art Institute, A Selection of Six: American Paintings from the Clark Collection, Nov. 17, 1990–Jan. 12, 1991, no cat.
Art Institute of Chicago, Mary Cassatt: Modern Woman, Oct. 10, 1998–Jan. 10, 1999, cat. 6, as After the Bullfight; Boston, Museum of Fine Arts, Feb. 14–May 9, 1999; Washington, DC, National Gallery of Art, June 6–Sept. 6, 1999 (Chicago and Boston only).
Norfolk, VA, Chrysler Museum of Art, Americans in Spain: Painting and Travel, 1820–1920, Feb. 12–May 16, 2021, cat. 77, as After the Bullfight; Milwaukee Art Museum, June 11–Oct. 3, 2021.
Art Institute of Chicago, Mary Cassatt: After Impressionism, Sept. 6, 2026–Jan. 3, 2027, cat. 2.
Источник: Art Institute of Chicago
Публикации
Pennsylvania Academy of the Fine Arts, Catalogue of the Forty-Ninth Annual Exhibition of the Pennsylvania Academy of the Fine Arts, exh. cat. (Pennsylvania Academy of the Fine Arts, 1878), 10, cat. 192, as Spanish Matador.
Massachusetts Charitable Mechanics Association, Catalogue of the Thirteenth Exhibition of the Department of Fine Arts of the Massachusetts Charitable Mechanics Association, exh. cat. (George Coolidge, 1878), 11, cat. 176, as After the Bull-Fight.
Hirschl & Adler Galleries, Selections from the Collection of Hirschl & Adler Galleries, vol. 1 (Hirschl & Adler Galleries, 1959), cover, 8, cat. 12 (ill.), as Torero.
John Maxon, Treasures of Chicago Collectors, exh. cat. (Art Institute of Chicago, 1961), n.p., as Toreador.
Frederick A. Sweet, Miss Mary Cassatt Impressionist from Pennsylvania (University of Oklahoma Press, 1966), 26–27, 77, color pl. 1 (ill.), as Toreador.
Edward Barry, “Art Institute Glows with 35 Cassatts,” Chicago Tribune (July 1, 1966): 176, as Toreador.
Joshua Kind, “Exhibit, New Book Show Sensitivity of Mary Cassatt,” Chicago Daily News (July 9, 1966): 182, as Toreador.
Harold Haydon, “A Two-Part Salute to Mary Cassatt,” Chicago Sun Times (July 10, 1966): 185, as Toreador.
Frederick A. Sweet, “Paintings and Pastels by Mary Cassatt,” Art Institute of Chicago Museum Studies 2 (1967): 32–33, 35, 49, fig. 1 (ill.), as Toreador, https://www.jstor.org/stable/4108780.
Adelyn Dohme Breeskin, Mary Cassatt: A Catalogue Raisonné of the Oils, Pastels, Watercolors, and Drawings (Smithsonian Institution Press, 1970), 38, cat. 23 (ill.), as Toreador.
Adelyn Dohme Breeskin, Mary Cassatt, 1844–1926, exh. cat. (National Gallery of Art, 1970), 19, cat. 2 (ill.), as Toreador.
“Painting and Sculpture,” Art Institute of Chicago Annual Report, 1969–70 (Art Institute of Chicago, 1970), 24, as Torero.
John Maxon, “Mrs. Morton’s Bequest,” Calendar of the Art Institute of Chicago 64, no. 1 (Jan. 1970): cover, 2–5 (ill.), as Torrero Lighting a Cigaret, https://www.jstor.org/stable/4117557.
“Art Across the U.S.A.: Recent Accessions,” Apollo 93, no. 103 (Sept. 1970): 233, fig. 9 (ill.), as Toreador.
John Rewald, The History of Impressionism, 4th ed. (Museum of Modern Art, 1973), 408 (ill.), as Torero, https://archive.org/details/historyofimpress0000rewa_v6a3.
Jean Devoisins, Trésors Impressionnistes du Musée de Chicago à Albi, exh. cat. (Musée Toulouse–Lautrec, 1980), 53, 69, cat. 42 (ill.), as Torero.
Nancy Mowll Mathews, ed., Cassatt and Her Circle: Selected Letters (Abbeville Press, 1984), 138, 140n2.
Suzanne G. Lindsay, Mary Cassatt and Philadelphia, exh. cat. (Philadelphia Museum of Art, 1985), 90, as Spanish Matador.
Arlene Raven, “A Museum of One’s Own,” review of Mary Cassatt by Nancy Mowll Mathews, Elizabeth Murray: Paintings and Drawings, ed. Edith M. Pavese, and National Museum of Women in the Arts, The Women’s Review of Books 5, no. 3 (Dec. 1987): 11–13, as Toreador, https://doi.org/10.2307/4020162.
Margaret C. Conrads, American Paintings and Sculpture at the Sterling and Francine Clark Institute (Hudson Hill Press, 1990), 27–28, fig. 7 (ill.), as Toreador.
M. Elizabeth Boone, “Bullfights and Balconies: Flirtation an Majismo in Mary Cassatt’s Spanish Paintings of 1872–72,” American Art 9, no. 1 (Spring 1995): 54–71, fig. 2 (ill.), as Toreador.
Judith A. Barter, et al., Mary Cassatt: Modern Woman, exh. cat. (Art Institute of Chicago, 1998), 37, 233, 316, cat. 6 (ill.), as After the Bullfight.
Judith A. Barter, et al., The Age of American Impressionism: Masterpieces from the Art Institute of Chicago (Art Institute of Chicago, 2011), 51–53, cat. 19 (ill.), as After the Bullfight.
M. Elizabeth Boone, “The Paintings Left Behind: Two New Paintings by Mary Cassatt from Seville,” Panorama: Journal of the Association of Historians of American Art 4, no. 2 (Fall 2018), https://doi.org/10.24926/24716839.1666, as Toreador and After the Bullfight.
Brandon Ruud and Corey Piper, Americans in Spain: Painting and Travel, 1820–1920, exh. cat. (Milwaukee Art Museum and the Chrysler Museum of Art, 2020), 155–157, 211, cat. 77 (ill.), as After the Bullfight.
Annelise K. Madsen, Mary Cassatt: After Impressionism, ex. cat. (Art Institute of Chicago, 2026), 29-30, 100-101, 194, cat. 2 (ill.).
Источник: Art Institute of Chicago
Сведения о произведениях предоставляются музеями и могут обновляться. Энциклопедический контекст предоставляется Wikipedia и не заменяет музейную классификацию.
