Bathers at Asnières (French: Une Baignade, Asnières) is an 1884 oil-on-canvas painting by the French artist Georges Pierre Seurat, the first of his two masterpieces on the monumental scale. The canvas is of a suburban, placid Parisian riverside scene. Isolated figures, with their clothes piled sculpturally on the riverbank, together with trees, austere boundary walls and buildings, and the River Seine are presented in a formal layout. A combination of complex brushstroke techniques, and a meticulous application of contemporary colour theory bring to the composition a sense of gentle vibrancy and timelessness.
Seurat completed the painting of Bathers at Asnières in 1884, when he was twenty-four years old. He applied to the jury of the Salon of the same year to have the work exhibited there, but the jury rejected it. The Bathers continued to puzzle many of Seurat’s contemporaries, and the picture was not widely acclaimed until many years after the death of the artist at the age of just thirty-one. An appreciation of the painting’s merits grew during the twentieth century, and today it hangs in the National Gallery, London, where it is considered one of the highlights of the gallery’s collection of paintings.
Henri Émile Benoît Matisse 31 December 1869 – 3 November 1954) was a French artist, known for both his use of colour and his fluid and original draughtsmanship. He was a draughtsman, printmaker, and sculptor, but is known primarily as a painter. Matisse is commonly regarded, along with Pablo Picasso, as one of the artists who best helped to define the revolutionary developments in the visual arts throughout the opening decades of the twentieth century, responsible for significant developments in painting and sculpture.
Café Terrace at Night is an 1888 oil painting by the Dutch artist Vincent van Gogh. It is also known as The Cafe Terrace on the Place du Forum, and, when first exhibited in 1891, was entitled Coffeehouse, in the evening (Café, le soir).
Van Gogh painted Café Terrace at Night in Arles, France, in mid-September 1888. The painting is not signed, but described and mentioned by the artist in three letters.
Visitors to the site can stand at the northeastern corner of the Place du Forum, where the artist set up his easel. The site was refurbished in 1990 and 1991 to replicate van Gogh’s painting. He looked south towards the artificially lit terrace of the popular coffee house, as well as into the enforced darkness of the rue du Palais which led up to a building structure (to the left, not pictured) and, beyond this structure, the tower of a former church which is now Musée Lapidaire.
Towards the right, Van Gogh indicated a lighted shop as well and some branches of the trees surrounding the place, but he omitted the remainders of the Roman monuments just beside this little shop.
The painting is currently at the Kröller-Müller Museum in Otterlo, Netherlands.
Anne Estelle Rice (1877–1959) was an American sculptor and artist who was one of the chief illustrators for the British periodical Rhythm, edited by John Middleton Murry and Michael Sadleir from 1911 to 1913. She established a close relationship with Katherine Mansfield, and famously painted her wearing red.
From the 1920s Rice painted still lifes, exhibiting at the Leicester Galleries and the Wildenstein Gallery in England. She kept up her visits to France, and sold paintings to collectors in the Netherlands, Denmark, France and Germany.
Rice was intensely interested in the theatre, often making theatrical costumes and sets the subjects of her drawings, and in the 1930s she designed the sets and costumes of several London operatic and dramatic productions.
Rice’s work is represented in numerous private collections in the United States and the United Kingdom, as well as in University of Hull Art Collection; Museum of New Zealand Te Papa Tongarewain Wellington, New Zealand; and the Government Art Collection, England.
Suzanne Valadon (23 September 1865 – 7 April 1938) was a French painter and artists’ model who was born Marie-Clémentine Valadon at Bessines-sur-Gartempe, Haute-Vienne, France. In 1894, Valadon became the first woman painter admitted to the Société Nationale des Beaux-Arts. She was also the mother of painter Maurice Utrillo.
Valadon spent nearly 40 years of her life as an artist. The subjects of her drawings and paintings, such as Joy of Life (1911), included mostly female nudes, female portraits, still lifes, and landscapes. She never attended the academy and was never confined within a tradition.
As a model Valadon appeared in such paintings as Pierre-Auguste Renoir’s 1883 Dance at Bougival and Dance in the City, and Henri de Toulouse-Lautrec’s 1885 portrait.