LaurieAnnie's photos with the keyword: baby

Portrait of Madame Augustine Roulin and Baby Marcelle Vincent Willem van Gogh, Dutch, 1853 - 1890 Geography: Made in Arles, France, Europe Date: 1888 or 1889 Medium: Oil on canvas Dimensions: 36 3/8 x 28 15/16 inches (92.4 x 73.5 cm) Framed: 49 1/2 x 42 x 5 1/2 inches (125.7 x 106.7 x 14 cm) Curatorial Department: European Painting before 1900, Johnson Collection Object Location: Gallery 165, European Art 1850-1900, first floor (Eglin Gallery) Accession Number: 1950-92-22 Credit Line: Bequest of Lisa Norris Elkins, 1950 Label: While living in Arles, France, Vincent van Gogh created portraits of the family of his friend Joseph Roulin, a local postmaster, including this painting of Roulin’s wife and infant daughter. A portrait of the family’s son, Camille, is also owned by the Museum. Additional information: Publication- Masterpieces from the Philadelphia Museum of Art: Impressionism and Modern Art In early December 1888, Vincent van Gogh wrote to his brother Theo from Arles where he was staying: "I have made portraits of a whole family, that of the postman whose head I had done previously, the man, his wife, the baby, the little boy, and the son of sixteen, all characters and very French."1 Not content with his initial portraits of the family, van Gogh continued to paint them, producing several pictures of Madame Roulin, the postman's wife. In two of them, including this one, she holds the couple's daughter, Marcelle, born in July 1888. With a relaxed pose and her face in shadow, Madame Roulin is a passive figure, while the baby, whose chubby face looks outward to engage us directly, is the more active and central subject. Van Gogh's work with color is one of the most dramatic aspects of the series; each family member is distinguished by bold primary colors in their clothing and contrasting backgrounds that correspond to different points on a color wheel. Here, the figures are painted in shades of green and white with blue outlines and a yellow ground. The use of these three colors, adjacent on the color wheel, underlines the closeness of mother and child. Jennifer A. Thompson, from Masterpieces from the Philadelphia Museum of Art: Impressionism and Modern Art (2007), p. 90. Note: 1) Quoted in Van Gogh Face to Face: The Portraits (Detroit, Mich.: The Detroit Institute of Arts, 2000), pp. 164 and 165-41. Provenance: Émile Bernard (1868-1941), Paris; with Ambroise Vollard, Paris; Amédeé Schuffenecker (1854–1936), Clamart, 1908; Fritz Meyer-Fierz, Zürich, by 1924; sale, Meyer-Fierz, Frederich Muller and Company, Amsterdam, July 13, 1926, no. 10. With Galerien Thannhauser, Munich and Lucerne (later Berlin and Paris), by 1927 to c. 1939 [1]; with Alex Reid & Lefèvre, London, joint ownership with Knoedler & Co., New York, by 1939 and still in 1946 [2]. William M. Elkins (1882-1947), Philadelphia, probably purchased from Knoedler, by May 1947 [3]; his wife Elizabeth "Lisa" C. Norris Elkins (1898-1950), Philadelphia; bequest to PMA, 1950. 1. Exhibited at Thannhauser Galleries, Berlin, "Erste Sonderausstellung in Berlin," January 9-February 1927. Published in de la Faille, 1928 (no. 490) as Thannhauser Gallery, Munich. The Thannhausers closed their original Munich gallery in 1928; they closed the Berlin branch in 1937 and moved to Paris. 2. De la Faille, Vincent van Gogh, 1939, no. 520, lists the current owner as Reid & Lefevre Gallery, London on p. 369, although the painting is still listed under Thannhauser Gallery, Paris, in the "Index of Collections" (p. 559). According to Lefevre Fine Art (letter dated 26 February 2004, in curatorial file), the painting was owned jointly with Knoedler and sold by Knoedler. Knoedler lent the painting to exhibitions in the US and Canada in 1940, 1941, 1943, 1944, and 1946. 3. Elkins lent the painting to the exhibition, "Masterpieces of Philadelphia Private Collections," May 30-Sept. 14, 1947. Text from: www.philamuseum.org/collections/permanent/52064.html?mulR=736574906|1

"Baby" Figure Date: 12th–9th century BCE Geography: Mexico, Mesoamerica Culture: Olmec Medium: Ceramic, cinnabar, red ochre Dimensions: H. 13 3/8 x W. 12 1/2 x D. 5 3/4 in. (34 x 31.8 x 14.6 cm) Classification: Ceramics-Sculpture Credit Line: The Michael C. Rockefeller Memorial Collection, Bequest of Nelson A. Rockefeller, 1979 Accession Number: 1979.206.1134 Description: Seated, life-size baby figures are among the most intriguing ceramic works from Precolumbian Mexico. Although their human features and postures are not symbolically complex and are easily understood, the significance of these figures in Precolumbian times is far from clear. They may have been early forms of Mexican deities or emblems of royal descent, or both. Made by an intellectually and artistically gifted people now called Olmec, the baby figures are white-surfaced—if not entirely made of white clay—and hollow. Some portray well-fed children making infantile gestures. Holding a chubby finger to its mouth, this figure is a fine example. An elaborate helmet (or perhaps a special hair arrangement) is colored red-pink with powdered cinnabar and red ochre that was probably used for symbolic purposes. Most intact Olmec ceramics have been found in burials in the central Mexican highlands. Preservation conditions in the wet climate of the Gulf Coast, where the Olmecs built their main centers, are so poor that the acid soils erode even well-fired ceramic objects. This figure is said to come from the highland site of Las Bocas in Puebla. Text from: www.metmuseum.org/Collections/search-the-collections/5000...

"Baby" Figure Date: 12th–9th century BCE Geography: Mexico, Mesoamerica Culture: Olmec Medium: Ceramic, cinnabar, red ochre Dimensions: H. 13 3/8 x W. 12 1/2 x D. 5 3/4 in. (34 x 31.8 x 14.6 cm) Classification: Ceramics-Sculpture Credit Line: The Michael C. Rockefeller Memorial Collection, Bequest of Nelson A. Rockefeller, 1979 Accession Number: 1979.206.1134 Description: Seated, life-size baby figures are among the most intriguing ceramic works from Precolumbian Mexico. Although their human features and postures are not symbolically complex and are easily understood, the significance of these figures in Precolumbian times is far from clear. They may have been early forms of Mexican deities or emblems of royal descent, or both. Made by an intellectually and artistically gifted people now called Olmec, the baby figures are white-surfaced—if not entirely made of white clay—and hollow. Some portray well-fed children making infantile gestures. Holding a chubby finger to its mouth, this figure is a fine example. An elaborate helmet (or perhaps a special hair arrangement) is colored red-pink with powdered cinnabar and red ochre that was probably used for symbolic purposes. Most intact Olmec ceramics have been found in burials in the central Mexican highlands. Preservation conditions in the wet climate of the Gulf Coast, where the Olmecs built their main centers, are so poor that the acid soils erode even well-fired ceramic objects. This figure is said to come from the highland site of Las Bocas in Puebla. Text from: www.metmuseum.org/Collections/search-the-collections/5000...

Madame Roulin and her Baby, 1888 Vincent van Gogh Dutch, 1853-1890 From the Robert Lehman Collection, Accession # 1975.1.231 Text from the Metropolitan Museum of Art label.

Madame Roulin and her Baby, 1888 Vincent van Gogh Dutch, 1853-1890 From the Robert Lehman Collection, Accession # 1975.1.231 Text from the Metropolitan Museum of Art label.

Madame Roulin and her Baby, 1888 Vincent van Gogh Dutch, 1853-1890 From the Robert Lehman Collection, Accession # 1975.1.231 Text from the Metropolitan Museum of Art label.

Madame Roulin and her Baby, 1888 Vincent van Gogh Dutch, 1853-1890 From the Robert Lehman Collection, Accession # 1975.1.231 Text from the Metropolitan Museum of Art label.

Title: The Night-Hag Visiting Lapland Witches Artist: Henry Fuseli (Swiss, Zürich 1741–1825 London) Date: 1796 Medium: Oil on canvas Dimensions: 40 x 49 3/4 in. (101.6 x 126.4 cm) Classification: Paintings Credit Line: Purchase, Bequest of Lillian S. Timken, by exchange, and Victor Wilbour Memorial, The Alfred N. Punnett Endowment, Marquand and Charles B. Curtis Funds, 1980 Accession Number: 1980.411 This canvas, first exhibited in 1799, was sold by the artist in 1808 to his biographer, John Knowles. It illustrates a passage from Paradise Lost (II, 622–66) in which the hellhounds surrounding Sin are compared to those who "follow the night-hag when, called, / In secret, riding through the air she comes, Lured with the smell of infant blood, to dance / With Lapland witches, while the laboring moon Eclipses at their charms." "Night-hag" is an epithet of the Greek goddess Hecate, who presided over witchcraft and magical rites. Text from: www.metmuseum.org/art/collection/search/436423

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Thomas Eakins (artist) American, 1844 - 1916 Baby at Play, 1876 oil on canvas overall: 81.9 x 122.8 cm (32 1/4 x 48 3/8 in.) framed: 106.7 x 147.3 cm (42 x 58 in.) John Hay Whitney Collection 1982.76.5 Baby at Play is the final work in a series of intimate portraits of family and friends created by Eakins between 1870 and 1876. The painting depicts the artist's two–and–a–half–year–old niece, Ella Crowell. Dressed in an intricately embroidered white frock, her legs clad in red–and–white striped stockings, the child is soberly absorbed at play. According to one recent interpretation, Eakins was depicting Ella's initial foray into the adult world of education and learning. Having temporarily cast aside her more infantile toys in favor of alphabet blocks—the tools of language—the child now seems ready to enter the next critical stage in her intellectual development. The monumentality of her painted form may seem surprising, considering the diminutive stature of Eakins' model. Her life–sized figure is arranged in a stable pyramidal block at the composition's center and the deft handling of light and shadow further emphasizes spatial volume. Eakins' choice of a lowered vantage point encourages the spectator to adopt a child's point of view. His penetrating psychological insight elevates this picture from a sentimental genre scene to a highly serious portrayal of an earnest, intelligent child. Text from: www.nga.gov/fcgi-bin/tinfo_f?object=61251

Vincent van Gogh (artist) Dutch, 1853 - 1890 Roulin's Baby, 1888 oil on canvas overall: 35 x 23.9 cm (13 3/4 x 9 7/16 in.) framed: 53.9 x 42.5 cm (21 1/4 x 16 3/4 in.) Chester Dale Collection 1963.10.31 Text from: www.nga.gov/fcgi-bin/tinfo_f?object=46506

Vincent van Gogh (artist) Dutch, 1853 - 1890 Roulin's Baby, 1888 oil on canvas overall: 35 x 23.9 cm (13 3/4 x 9 7/16 in.) framed: 53.9 x 42.5 cm (21 1/4 x 16 3/4 in.) Chester Dale Collection 1963.10.31 Text from: www.nga.gov/fcgi-bin/tinfo_f?object=46506

Vincent van Gogh (artist) Dutch, 1853 - 1890 Roulin's Baby, 1888 oil on canvas overall: 35 x 23.9 cm (13 3/4 x 9 7/16 in.) framed: 53.9 x 42.5 cm (21 1/4 x 16 3/4 in.) Chester Dale Collection 1963.10.31 Text from: www.nga.gov/fcgi-bin/tinfo_f?object=46506