Reception room

Photo Frame

Photo Frame

Portrait de Madame Lebreton • Eugen Von Blaas

Eugen Von Blaas (1843-1932) excelled in depicting the discreet charm of the bourgeoisie, painting especially women of the world with elegance and refinement.

Maria Lebreton was the daughter of Andrea Antonini, a wealthy Venetian industrialist, patron of the arts and lover of art, who had been the head of Canapificio Veneto since 1889. Maria played an active role in the family and in the family business. In 1908 she married the lawyer Alberto Lebreton, who took over the business after her father-in-law's long illness. This portrait was commissioned by her father on the occasion of his wedding.

The painting was exhibited at the Venice Biennale in 1909, reflecting the fashion and prestige of the painted portrait genre at that time. Maria Lebreton's figure stands out against the neutral background in a black satin evening gown, wearing a feathered hat and sumptuous jewellery. The tulle stole, draped casually over her arms, and the fan suggest that she has paused only momentarily to allow the artist and her audience to appreciate her beauty and elegance.

TEA TIME • HENRI CARO-DELVAILLE

Trained in Bayonne by Achille Zo (1826-1901) and then in Paris by Léon Bonnat (1833-1922), Henry Caro-Delvaille achieved immense success in France and also in the United States, where he settled in 1916. "Tea Time" showcases his talent for capturing an atmosphere that is both intimate and sophisticated, with a broad and suggestive touch. The young woman seated on the left is the artist's wife, whom he often used as a model.

PENELOPE WITHOUT SPINDLE • ANTOINE BOURDELLE

With the portrayal of Penelope, the faithful wife of King Ulysses, Antoine Bourdelle reinterprets a subject from ancient mythology while asserting his modernity. Depicted without spindle or tapestry, standing with her face resting on her fist, one arm wrapped around her waist, she appears to be waiting. Sculpted like a column, the folds of her dress that contour her form are as tight as the flutings of a Doric column, and the geometric base reinforces its architectural aspect.

STUDY FOR THE PORTRAIT OF BOURDELLE • JACQUES-ÉMILE BLANCHE

Antoine Bourdelle studied sculpture at the Academy of Fine Arts in Toulouse and then at the École des Beaux-Arts in Paris. He joined Auguste Rodin's (1840-1917) workshop as a practitioner for marble carving in 1893. At that time, he was undoubtedly the closest disciple to his master, and the two men were bound by mutual admiration. However, starting in 1905, Antoine Bourdelle broke away from this aesthetic and joined the trend of formal simplification, along with other young sculptors, including Aristide Maillol.

PORTRAIT OF GILDA DARTHY • JACQUES-ÉMILE BLANCHE

In artistic and literary salons, Jacques-Émile Blanche encounters colorful characters whom he portrays in numerous portraits, such as the actress Gilda Darthy (1878-1952), who was at the height of her fame on the stage at the time. The actress with red hair was the subject of many photographs. In this portrait, her black costume blends with the dark background, against which stand out the elements: the white feather, the pearly necklace, and her milky skin.