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oil paint (paint)200 × 102 Cm
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About the artwork
Artist supplied description.
A luminous nude woman reclines in a dimly lit interior filled with fruits, textiles, and other luxury goods. To European audiences, this collection of objects would have broadly evoked the Middle East. The painting’s setting and title suggest that she is a courtesan in a harem. For 19th-century European artists, depicting the nude female form was a fundamental component of academic training and a benchmark of artistic excellence. The imagined harem setting—a space historically used as women’s quarters and forbidden to men—provided narrative context for the nude and appealed to the sexual and colonialist fantasies of European audiences.
Artwork metadata
Structured fields synced from connected systems.
| Medium | oil paint (paint) |
| Dimensions | 200 × 102 Cm |
| Tags | nudesorangesfruitjewelryfabricinteriorluxurywealthwoman |
| Certificate | Certificate not provided |
Timeline
Chain of custody, exhibitions, and verification milestones synced from the provenance service.
Thu
22
Jan
note
bequeathed to the George F....
bequeathed to the George F. Harding Museum, Chicago
Thu
22
Jan
exhibition
Memphis, Tennessee, Dixon Gallery and Gardens, Scent and Symbolism: Perfumed Objects and Images, April 9-July 2, 2017, cat 191.
Memphis, Tennessee, Dixon Gallery and Gardens, Scent and Symbolism: Perfumed Objects and Images, April 9-July 2, 2017, cat 191.
Thu
22
Jan
note
Allison Lee Palmer, Historical Dictionary of Romantic Art and Architecture
Allison Lee Palmer, Historical Dictionary of Romantic Art and Architecture (Lanham, Maryland: Scarecrow Press, 2011), p. 143.
Thu
22
Jan
note
Shalon Detrice Parker, “‘With a Sincere Spirit and Deep Conviction”: Lefebvre’s Lady Godiva and Salon Artistic Culture in Fin-de-Siècle France,” Southeastern College Art Conference Review 15, 4
Shalon Detrice Parker, “‘With a Sincere Spirit and Deep Conviction”: Lefebvre’s Lady Godiva and Salon Artistic Culture in Fin-de-Siècle France,” Southeastern College Art Conference Review 15, 4 (2009), pp. 422–23, fig. 3.
Thu
22
Jan
note
Shalon Detrice Parker, “A Tradition Gone Awry: The Salon Nude in Fin-de-siècle France”
Shalon Detrice Parker, “A Tradition Gone Awry: The Salon Nude in Fin-de-siècle France” (Ph.D diss, University of California, Berkeley, 2003), pp. 41–3, 228, fig. 17.
Thu
22
Jan
note
Ruth Bernard Yeazell, Harems of the Mind: Passages of Western Art and Literature
Ruth Bernard Yeazell, Harems of the Mind: Passages of Western Art and Literature (New Haven and London: Yale University Press, 2000), p. 25, fig. 2.
Thu
22
Jan
note
George F....
George F. Harding, Jr. (died 1929), Chicago
Thu
22
Jan
note
sold, sale of the Astor Residence, American Art Association, New York, April 21, 1926, lot 450, to George F....
sold, sale of the Astor Residence, American Art Association, New York, April 21, 1926, lot 450, to George F. Harding, Jr. [buyer according to a Harding Museum record in the George F. Harding files, Art Institute, copy in curatorial file]
Thu
22
Jan
note
Vincent Astor, New York, by 1926
Vincent Astor, New York, by 1926
Thu
22
Jan
note
Richard R. Brettell, French Salon Artists 1800–1900
Richard R. Brettell, French Salon Artists 1800–1900 (Chicago: Art Institute of Chicago, 1987), pp. 99–100 (ill.), 119.
Sat
22
Jan
note
Stephanie Holt, “Chloe: A Curious History,” in Jeanette Hoorn, ed., Strange Women: Essays in Art and Gender
Stephanie Holt, “Chloe: A Curious History,” in Jeanette Hoorn, ed., Strange Women: Essays in Art and Gender (Carlton, Victoria: Melbourn University Press, 1994), pp. 118–120, pl. 20.
Wed
22
Jan
note
Stephanie Holt, “Chloe: A Curious History,”
Stephanie Holt, “Chloe: A Curious History,” (Ph.D diss, University of Melbourne, 1992), pp. 4–6.
Tue
22
Jan
note
Hollis Clayson, Painted Love: Prostitution in French Art of the Impressionist Era
Hollis Clayson, Painted Love: Prostitution in French Art of the Impressionist Era (New Haven and London: Yale University Press, 1991), pp. 51–53, fig. 30; reprint (Los Angeles: Getty Research Institute, 2013).
Sat
22
Jan
note
transferred to the Art Institute, 1983.
transferred to the Art Institute, 1983.
Sat
22
Jan
note
Art Institute of Chicago, Annual Report 1983–84
Art Institute of Chicago, Annual Report 1983–84 (Chicago: Art Institute of Chicago, 1984), p. 45.
© Artist-Unknown. All rights reserved.