Thomas CoutureFrança, 1815–1879Portrait de Madame La Rivière (Titre d'usage)
Posso vê-la?
Desconhecido
Onde está «Portrait de Madame La Rivière (Titre d'usage)» hoje? Coleção: Musée départemental de l'Oise, Beauvais. Desconhecido.
Beauvais, França
O proprietário é conhecido; não se sabe se hoje está exposta.
- Neste estado desde
- Fonte
- O museu
Sobre a pintura
Nas palavras do museu — em francês
Peinture à l'huile sur toile sur châssis. Cadre doré en bois, à moulure et ornementations moulées. Deux morceaux de toile assemblés par une couture au point de ' bourdon ' à 11 cm du bord inférieur.
Musée départemental de l'Oise
Pormenores
- Número de inventário
- 77.442
O que mostra
No catálogo
Fontes
- Musée départemental de l'Oise
- Imagem: Musée départemental de l'Oise — © Réunion des musées nationaux-Grand Palais (MUDO - Musée de l'Oise) / Martine Beck-Coppola - Utilisation des photographies soumise à autorisation; Ministère de la Culture (France), base Joconde
Na vida de Thomas Couture
A vida inteira1837
The Prix de Rome after six failures
Couture had failed the Prix de Rome competition at the École des Beaux-Arts six times, but felt that the fault lay with the École and not with himself. He finally won the prize in 1837.
1837 · Prémio
Second Great Prize of Rome
1838
His debut at the Paris Salon
In 1838, a year after the Prix de Rome, Couture is shown at the Paris Salon for the first time, with a canvas depicting a Venetian woman after a night orgy.
after 1847
Opens an independent atelier in Paris
Soon after this triumph, in the wake of which he called himself the only truly serious artist of his age, Couture opens an independent atelier on the streets of Laval and Pigalle in Paris. It is conceived as a rival to the École des Beaux-Arts: several dozen pupils study there, among them students from the USA and Germany, and Couture wants to train not geniuses but painters who know their craft, demanding individuality from them rather than imitation.
1847
The Salon of 1847: the triumph of “The Romans of the Decadence”
The picture meets with a resounding success and recognition: Théophile Gautier calls it the most remarkable work of the exhibition. Many find it symbolic that in the hall it takes the usual place of Veronese’s “The Wedding at Cana”, and some opinions favour the French canvas over the Italian classic.
1847–1848
A gold medal, and the state buys “The Romans”
“The Romans of the Decadence” is awarded a first-class gold medal, and the state buys the picture for 12,000 francs. From 1848 it is shown in the collection of the Luxembourg Museum, and later it is transferred to the collection of the Musée d’Orsay.
