Marianne Delafond and Caroline Genet-Bondeville, Frédéric Bazille, exh.Steven Platzman, Cézanne: The Self-Portraits (London: Thames & Hudson, 2001), pp.Art Institute of Chicago, Impressionism and Post Impressionism in the Art Institute of Chicago (Chicago: Art Institute of Chicago, 2000), p.John House, “Impressionism and the Modern Portrait,” in Sona Johnson, Faces of Impressionism: Portraits from American Collections, exh.Pitman, Bazille: Purity, Pose, and Painting in the 1860s (University Park, Pennsylvania: Pennsylvania State University, 1998), frontispiece (ill.), pp. Michel Schulman, Frédéric Bazille, 1841–1870: Catalogue raisonné (Paris: Éditions de l’Amateur and Éditions des Catalogues raisonnés, 1995), pp.Valérie Bajou, Frédéric Bazille, 1841–1870 (La Calade, Aix-en-Provence: Edisud, 1993), pp.François-Bernard Michel, Frédéric Michel: Réflexions sur la peinture, la médecine, le paysage et le portrait, les origines de l’Impressionisme, la vraie nature de Claude Monet, la mélancolie et la société provinciale (Paris: Bernard Grasset, 1992), pp.François Daulte, Frédéric Bazille et les débuts de l’impressionisme: Catalogue raisonné de l’oeuvre peint (Paris, Bibliothèque des Arts, 1992), pp.Pascal Bonafoux, The Impressionists: Portraits and Confidences (New York: Skira and Rizzoli, 1986), p.Brettell, French Salon Artists, 1800–1900 (Chicago: Art Institute of Chicago, 1987), pp. Douglas Druick, in Douglas Druick and Michel Hoog, Fantin-Latour, exh.Art Institute of Chicago, The Art Institute of Chicago: 100 Masterpieces (Chicago: Rand McNally & Co., 1978), p.Richard Fremantle, “Three Exhibitions in America,” Burlington Magazine 120 (1978), fig.“Etcetera, news and views of the world of art,” Art Gallery 21, 3 (1978), p.79 (ill.) reprinted (London: Thames and Hudson, Ltd., 1977). John Maxon, The Art Institute of Chicago (New York: H.André Treves, “Après les peintres de la Seine et ses affluents: Les Ecoles de Fontainebleau, Le XIXe siècle,” Le Peintre no.John Maxon, “Some Recent Acquisitions,” Apollo 84, 55 (1966), p, 216, fig.Art Institute of Chicago, Paintings in the Art Institute of Chicago: A Catalogue of the Picture Collection, Supplement (Chicago: Art Institute of Chicago, 1965), no page.John Maxon, “Bazille,” Art Institute of Chicago Quarterly 57, 2 (1963), pp. Wildenstein, “La Chronique des arts,” Gazette des Beaux-Arts, 61 (1963) supplement no. Annual Report 1961–1962 (Chicago: The Art Institute of Chicago, 1962), p.François Daulte, Frédéric Bazille et son temps (Geneva: Pierre Cailler, 1952), p.Pierre du Colombier, “La place de Frédéric Bazille,” Candide (April 1935).Gaston Poulain, Bazille et ses amis (Paris: Renaissance du Livre, 1932), p.Edward Harris Brewer Reference Number 1962.336 IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world. Status On View, Gallery 225 Department Painting and Sculpture of Europe Artist Frédéric Bazille Title Self-Portrait Place France (Artist's nationality) Date 1865–1866 Medium Oil on canvas Dimensions 108.9 × 71.1 cm (42 7/8 × 28 3/8 in.) Credit Line Purchased with funds provided by Mr. It was both a practice piece (in which Bazille observed and painted his reversed image as seen in a mirror) and, given his recent decision to abandon a medical career in favor of art, a professional manifesto. He created this work while sharing an apartment-studio with Claude Monet and experimenting with new painting techniques that would be central to the Impressionist movement. The unseen easel and canvas must be located immediately in front of the artist and to our left.ĭuring his brief career, which ended when he was killed in the line of duty during the Franco-Prussian War, Frédéric Bazille produced about 70 paintings, 4 of them self-portraits. Depicted against a dark background with only his palette and brushes to indicate his profession, he looks at the viewer as if caught unawares. Frédéric Bazille was in his mid-20s when he executed this startlingly direct self-portrait.
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