Gustave Caillebotte (French, 1848–1894) • Le pont de l'Europe • c. 1876 • Musée du Petit Palais, Geneva, Switzerland
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Henri Gervex, Rolla (detail), 1878.
Musée des Beaux-Arts de Bordeaux.
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Jeune fille au jardin (1936), dir. Dimitri Kirsanoff
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Claude Monet - The Bodmer Oak, Fontainebleau Forest, 1865.
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A Night at the Opera, Part III
Mary Stevenson Cassat (American, 1824-1936 ) • At the Opera • 1878 • Museum of Fine Arts, Boston
Opera in the Victorian era was as much for the performance, as it was for the social display of socialites and their fine attire. The latter perhaps having been more important. To see and be seen was so much a part of the opera experience, that with the advent of electric lights and the ability to dim the hall during performances, was met with complaints that patrons weren't able to view their surroundings.
Opera glasses were an integral part of the opera experience. All the better for views of the latest styles and courtship couplings. Opera glasses were being manufactured in beautiful, ornate styles to appeal to fashionable Victorians.
Opera glasses, 19th century. Museum no. S.320-1981. © Victoria and Albert Museum, London
Gentlemen wore top hats and tails to the opera. Just as important as clothing were the rules men had to follow when escorting a lady. For example, during intermission, when many opera-goers left their seats to promenade in the halls, a gentleman was obligated to ask if his lady companion was interested in doing so. If she declined, it was considred unmannerly to leave her seated alone at a performance.
Sources:
Victoria and Albert Museum
Victorian Etiquette - Etiquette at the Theatre, Opera and Concerts
Recollections
Pinterest
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The Road in Front of Saint-Simeon Farm in Winter - 81 x 100 - Claude Monet - 1867 (Age: 27)
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MWW Artwork of the Day (11/14/23)
Edgar Degas (French, 1834-1917)
Mme. Jeantaud in the Mirror (c. 1875)
Oil on canvas, 70 x 84 cm.
Musée d'Orsay, Paris
The familiar, comfortable realism of this painting is characteristic of the portraits of the 1870s, but the composition is highly original. Indeed the model appears in a three-quarter view with her head turned away and seems to be glancing at herself in the mirror before she goes out. The reflection therefore seems to be looking straight at the spectator, who is caught in the centre of a complex series of glances from Berthe-Marie to the spectator via the mirror. The mirror, symbolising the virtual and the illusory, short circuits the depth of traditional perspective. Central to the composition and the dynamic it creates, the reflection is swiftly brushed in black whereas the model is more precisely painted and more carefully worked over.
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Claude Monet (French, 1840-1926 • Roses in a Copper Basket • c. 1868 • Unspecified location
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Pierre-Auguste Renoir (French,1841–1919) • Le Déjeuner des canotiers (Luncheon of the Boating Party) • 1882 • The Phillips Collection, Washington D.C.
Le Déjeuner des canotiers depicts a group of Renoir's friends gathered around tables, enjoying a post-boating meal and conversation. The man sitting on the right is Gustave Caillebotte, another famous Impressionist. The woman on the left, playing with the little dog is Aline Charigot, Renoir's future wife.
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Marie Bracquemond (French, 1840-1916) • Louise Quivoron aka Woman in the Garden • 1877 • Musée d'Orsay
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