LaurieAnnie's photos with the keyword: Winterhalter

Title: The Empress Eugénie (Eugénie de Montijo, 1826–1920, Condesa de Teba) Artist: Franz Xaver Winterhalter (German, Menzenschwand 1805–1873 Frankfurt) Date: 1854 Medium: Oil on canvas Dimensions: 36 1/2 x 29 in. (92.7 x 73.7 cm) Classification: Paintings Credit Line: Purchase, Mr. and Mrs. Claus von Bülow Gift, 1978 Accession Number: 1978.403 Winterhalter began an official portrait of Empress Eugénie (Eugénie de Montijo, Condesa de Teba, 1826-1920) shortly after her marriage in 1853 to Napoleon III, emperor of France, but it was not exhibited until 1855. The present work is, in contrast, relatively intimate in scale and effect. It shows the empress in a Second Empire adaptation of an eighteenth-century gown. Her interest in the previous century, especially her fascination with Marie Antoinette, queen of France from 1774 to 1793, is well documented. Text from: www.metmuseum.org/art/collection/search/437942

Title: The Empress Eugénie (Eugénie de Montijo, 1826–1920, Condesa de Teba) Artist: Franz Xaver Winterhalter (German, Menzenschwand 1805–1873 Frankfurt) Date: 1854 Medium: Oil on canvas Dimensions: 36 1/2 x 29 in. (92.7 x 73.7 cm) Classification: Paintings Credit Line: Purchase, Mr. and Mrs. Claus von Bülow Gift, 1978 Accession Number: 1978.403 Winterhalter began an official portrait of Empress Eugénie (Eugénie de Montijo, Condesa de Teba, 1826-1920) shortly after her marriage in 1853 to Napoleon III, emperor of France, but it was not exhibited until 1855. The present work is, in contrast, relatively intimate in scale and effect. It shows the empress in a Second Empire adaptation of an eighteenth-century gown. Her interest in the previous century, especially her fascination with Marie Antoinette, queen of France from 1774 to 1793, is well documented. Text from: www.metmuseum.org/art/collection/search/437942

Florinda, 1853 Franz Xaver Winterhalter (German, 1805–1873) Oil on canvas 70 1/4 x 96 3/4 in. (178.4 x 245.7 cm) Signed (lower right): Fx. Winterhalter Bequest of William H. Webb, 1899 (01.21) This painting depicts an episode from the legend of Roderick, the last king of the Spanish Visigoths. After spying on his maids of honor to determine the fairest among them, the king chose Florinda (at center left), who became the object of his love. In revenge, Florinda's father called the Arabs into Spain and brought about the conquest. This painting, which was shown at the Salon of 1853, is a replica of a version of the same size given by Queen Victoria to Prince Albert in 1852. Winterhalter used a similar composition for Empress Eugénie Surrounded by Her Ladies-in-Waiting (1855; Musée National du Château, Compiègne). Text from: www.metmuseum.org/toah/works-of-art/01.21

Title: The Empress Eugénie (Eugénie de Montijo, 1826–1920, Condesa de Teba) Artist: Franz Xaver Winterhalter (German, Menzenschwand 1805–1873 Frankfurt) Date: 1854 Medium: Oil on canvas Dimensions: 36 1/2 x 29 in. (92.7 x 73.7 cm) Classification: Paintings Credit Line: Purchase, Mr. and Mrs. Claus von Bülow Gift, 1978 Accession Number: 1978.403 Winterhalter began an official portrait of Empress Eugénie (Eugénie de Montijo, Condesa de Teba, 1826-1920) shortly after her marriage in 1853 to Napoleon III, emperor of France, but it was not exhibited until 1855. The present work is, in contrast, relatively intimate in scale and effect. It shows the empress in a Second Empire adaptation of an eighteenth-century gown. Her interest in the previous century, especially her fascination with Marie Antoinette, queen of France from 1774 to 1793, is well documented. Text from: www.metmuseum.org/art/collection/search/437942

Florinda, 1853 Franz Xaver Winterhalter (German, 1805–1873) Oil on canvas 70 1/4 x 96 3/4 in. (178.4 x 245.7 cm) Signed (lower right): Fx. Winterhalter Bequest of William H. Webb, 1899 (01.21) This painting depicts an episode from the legend of Roderick, the last king of the Spanish Visigoths. After spying on his maids of honor to determine the fairest among them, the king chose Florinda (at center left), who became the object of his love. In revenge, Florinda's father called the Arabs into Spain and brought about the conquest. This painting, which was shown at the Salon of 1853, is a replica of a version of the same size given by Queen Victoria to Prince Albert in 1852. Winterhalter used a similar composition for Empress Eugénie Surrounded by Her Ladies-in-Waiting (1855; Musée National du Château, Compiègne). Text from: www.metmuseum.org/toah/works-of-art/01.21

Florinda, 1853 Franz Xaver Winterhalter (German, 1805–1873) Oil on canvas 70 1/4 x 96 3/4 in. (178.4 x 245.7 cm) Signed (lower right): Fx. Winterhalter Bequest of William H. Webb, 1899 (01.21) This painting depicts an episode from the legend of Roderick, the last king of the Spanish Visigoths. After spying on his maids of honor to determine the fairest among them, the king chose Florinda (at center left), who became the object of his love. In revenge, Florinda's father called the Arabs into Spain and brought about the conquest. This painting, which was shown at the Salon of 1853, is a replica of a version of the same size given by Queen Victoria to Prince Albert in 1852. Winterhalter used a similar composition for Empress Eugénie Surrounded by Her Ladies-in-Waiting (1855; Musée National du Château, Compiègne). Text from: www.metmuseum.org/toah/works-of-art/01.21

Florinda, 1853 Franz Xaver Winterhalter (German, 1805–1873) Oil on canvas 70 1/4 x 96 3/4 in. (178.4 x 245.7 cm) Signed (lower right): Fx. Winterhalter Bequest of William H. Webb, 1899 (01.21) This painting depicts an episode from the legend of Roderick, the last king of the Spanish Visigoths. After spying on his maids of honor to determine the fairest among them, the king chose Florinda (at center left), who became the object of his love. In revenge, Florinda's father called the Arabs into Spain and brought about the conquest. This painting, which was shown at the Salon of 1853, is a replica of a version of the same size given by Queen Victoria to Prince Albert in 1852. Winterhalter used a similar composition for Empress Eugénie Surrounded by Her Ladies-in-Waiting (1855; Musée National du Château, Compiègne). Text from: www.metmuseum.org/toah/works-of-art/01.21

Florinda, 1853 Franz Xaver Winterhalter (German, 1805–1873) Oil on canvas 70 1/4 x 96 3/4 in. (178.4 x 245.7 cm) Signed (lower right): Fx. Winterhalter Bequest of William H. Webb, 1899 (01.21) This painting depicts an episode from the legend of Roderick, the last king of the Spanish Visigoths. After spying on his maids of honor to determine the fairest among them, the king chose Florinda (at center left), who became the object of his love. In revenge, Florinda's father called the Arabs into Spain and brought about the conquest. This painting, which was shown at the Salon of 1853, is a replica of a version of the same size given by Queen Victoria to Prince Albert in 1852. Winterhalter used a similar composition for Empress Eugénie Surrounded by Her Ladies-in-Waiting (1855; Musée National du Château, Compiègne). Text from: www.metmuseum.org/toah/works-of-art/01.21

Artist: Franz Xaver Winterhalter (German, Menzenschwand 1805–1873 Frankfurt am Main) Title: Countess Alexander Nikolaevitch Lamsdorff (née Maria Ivanovna Beck, 1835–1866) Date: 1859 Medium: Oil on canvas Dimensions: 57 1/4 x 45 1/4 in. (145.4 x 114.9 cm) Classification: Paintings Credit Line: Bequest of Miss Adelaide Milton de Groot (1876–1967), 1967 Accession Number: 67.187.119 Gallery Label: Although trained in Germany, Winterhalter spent most of his adult life in Paris, where he became a favorite portraitist of European aristocrats. In 1841 alone, his sitters included the king and queen of Belgium; King Louis-Philippe of France; and Queen Maria Cristina of Spain. The following year, he added Marie-Amélie, queen of France, and Queen Victoria and Prince Albert of England to his roster of royal models. The twenty-four-year-old countess depicted here was the wife of Alexander Nikolaevitch Lamsdorff, a Russian aristocrat and Francophile. The book of English poetry in her lap is thought to be a reference to her father, Ivan Alexandrovitch Beck, a poet and translator. Her choice of a fashionable day dress may have been suggested by Winterhalter, who is known to have advised his sitters on their wardrobe and posed them to their best advantage in his studio. Text from: www.metmuseum.org/Works_of_Art/collection_database/europe...

Artist: Franz Xaver Winterhalter (German, Menzenschwand 1805–1873 Frankfurt am Main) Title: Countess Alexander Nikolaevitch Lamsdorff (née Maria Ivanovna Beck, 1835–1866) Date: 1859 Medium: Oil on canvas Dimensions: 57 1/4 x 45 1/4 in. (145.4 x 114.9 cm) Classification: Paintings Credit Line: Bequest of Miss Adelaide Milton de Groot (1876–1967), 1967 Accession Number: 67.187.119 Gallery Label: Although trained in Germany, Winterhalter spent most of his adult life in Paris, where he became a favorite portraitist of European aristocrats. In 1841 alone, his sitters included the king and queen of Belgium; King Louis-Philippe of France; and Queen Maria Cristina of Spain. The following year, he added Marie-Amélie, queen of France, and Queen Victoria and Prince Albert of England to his roster of royal models. The twenty-four-year-old countess depicted here was the wife of Alexander Nikolaevitch Lamsdorff, a Russian aristocrat and Francophile. The book of English poetry in her lap is thought to be a reference to her father, Ivan Alexandrovitch Beck, a poet and translator. Her choice of a fashionable day dress may have been suggested by Winterhalter, who is known to have advised his sitters on their wardrobe and posed them to their best advantage in his studio. Text from: www.metmuseum.org/Works_of_Art/collection_database/europe...

Florinda, 1853 Franz Xaver Winterhalter (German, 1805–1873) Oil on canvas 70 1/4 x 96 3/4 in. (178.4 x 245.7 cm) Signed (lower right): Fx. Winterhalter Bequest of William H. Webb, 1899 (01.21) This painting depicts an episode from the legend of Roderick, the last king of the Spanish Visigoths. After spying on his maids of honor to determine the fairest among them, the king chose Florinda (at center left), who became the object of his love. In revenge, Florinda's father called the Arabs into Spain and brought about the conquest. This painting, which was shown at the Salon of 1853, is a replica of a version of the same size given by Queen Victoria to Prince Albert in 1852. Winterhalter used a similar composition for Empress Eugénie Surrounded by Her Ladies-in-Waiting (1855; Musée National du Château, Compiègne). Text from: www.metmuseum.org/toah/works-of-art/01.21

Florinda, 1853 Franz Xaver Winterhalter (German, 1805–1873) Oil on canvas 70 1/4 x 96 3/4 in. (178.4 x 245.7 cm) Signed (lower right): Fx. Winterhalter Bequest of William H. Webb, 1899 (01.21) This painting depicts an episode from the legend of Roderick, the last king of the Spanish Visigoths. After spying on his maids of honor to determine the fairest among them, the king chose Florinda (at center left), who became the object of his love. In revenge, Florinda's father called the Arabs into Spain and brought about the conquest. This painting, which was shown at the Salon of 1853, is a replica of a version of the same size given by Queen Victoria to Prince Albert in 1852. Winterhalter used a similar composition for Empress Eugénie Surrounded by Her Ladies-in-Waiting (1855; Musée National du Château, Compiègne). Text from: www.metmuseum.org/toah/works-of-art/01.21

Artist: Franz Xaver Winterhalter (German, Menzenschwand 1805–1873 Frankfurt am Main) Title: Countess Alexander Nikolaevitch Lamsdorff (née Maria Ivanovna Beck, 1835–1866) Date: 1859 Medium: Oil on canvas Dimensions: 57 1/4 x 45 1/4 in. (145.4 x 114.9 cm) Classification: Paintings Credit Line: Bequest of Miss Adelaide Milton de Groot (1876–1967), 1967 Accession Number: 67.187.119 Gallery Label: Although trained in Germany, Winterhalter spent most of his adult life in Paris, where he became a favorite portraitist of European aristocrats. In 1841 alone, his sitters included the king and queen of Belgium; King Louis-Philippe of France; and Queen Maria Cristina of Spain. The following year, he added Marie-Amélie, queen of France, and Queen Victoria and Prince Albert of England to his roster of royal models. The twenty-four-year-old countess depicted here was the wife of Alexander Nikolaevitch Lamsdorff, a Russian aristocrat and Francophile. The book of English poetry in her lap is thought to be a reference to her father, Ivan Alexandrovitch Beck, a poet and translator. Her choice of a fashionable day dress may have been suggested by Winterhalter, who is known to have advised his sitters on their wardrobe and posed them to their best advantage in his studio. Text from: www.metmuseum.org/Works_of_Art/collection_database/europe...