Los hechos de ventas observadas, pruebas comparables, historial del índice y estudios modelados permanecen separados.
Ventas públicas del mismo artista ordenadas por técnica, año de creación, dimensiones y antigüedad de venta.
Sophie Crouzet, retained by, until her death in 1844.
By inheritance to her son Félix-Adolphe Crouzet.
By inheritance to his daughter Sophie Crouzet, wife of Gustave-François Bourotte.
By inheritance to their first-born son Eugène (d. 1899).
By inheritance to his brother Émile Bourotte, then by inheritance to his wife, Mme Joséphine Darte-B...
Sold to Wildenstein & Co., New York, probably in the early 1920s.
Grace Rainey Rogers sale, Parke-Bernet Galleries, New York, 18 November 1943 (lot 51), as Jacques-Lo...
Sophie Crouzet, retained by, until her death in 1844. By inheritance to her son Félix-Adolphe Crouzet. By inheritance to his daughter Sophie Crouzet, wife of Gustave-François Bourotte. By inheritance to their first-born son Eugène (d. 1899). By inheritance to his brother Émile Bourotte, then by inheritance to his wife, Mme Joséphine Darte-Bourotte, Versailles. Sold to Wildenstein & Co., New York, probably in the early 1920s. Grace Rainey Rogers sale, Parke-Bernet Galleries, New York, 18 November 1943 (lot 51), as Jacques-Louis David, Citoyenne Crouzet. Purchased by the CMA in 1943.
Baron Gros, Painter of Battles: The First Romantic Painter. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 8-April 15, 1956). Problem Pictures. The Frances Lehman Loeb Art Center, Poughkeepsie, NY (organizer) (October 13-November 15, 1965). Portraiture: The Image of the Individual. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 22, 1983-January 22, 1984). Rococo, Revolution, Restoration. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 11-September 24, 1989). Hartford, Wadsworth Atheneum. Loan Exhibition of Distinguished Works of Art (1928), no. 25, Jacques-Louis David, Portrait of a Woman, lent by Wildenstein & Co. Cambridge, Mass., Fogg Art Museum. Exhibition of French Painting of the Nineteenth and Twentieth Centuries (1929), no. 23 (repr.), David, Citoyenne Crouzet, Wildenstein & Co. Toledo Museum of Art; Art Gallery of Toronto. The Spirit of Modern France: An Essay on Painting in Society 1745-1946 (1946-47), no. 13, La Citoyenne Courzet [sic] 1795 (repr.). New York, Wildenstein & Co. French XVIIIth Century Paintings (1948), 5, David, La Citoyenne Crouzet. Detroit Institute of Arts. From David to Courbet (1950), no. 3, David, La Citoyenne Crouzet. Seattle Art Museum. Masterpieces of Nineteenth Century Painting and Sculpture (7 March-6 May 1951), no cat. Omaha, Joslyn Art Museum. Twentieth Anniversary Exhibition-The Beginnings of Modern Painting, France 1800-1900 (1951), 4, David, La Citoyenne Crouzet. Winnipeg Art Gallery. French Pre-Impressionist Painters of the Nineteenth Century (1954), 8, no. 3 (repr.), David, La Citoyenne Crouzet. Fort Worth Art Center. Inaugural Exhibition (1954), no. 18, David, La Citoyenne Crouzet (repr.). Art Gallery of Toronto. Comparisons (1957), no. 20, David, La Citoyenne Couzet [sic]. Akron (Ohio) Art Institute. Masterpiece of the Month (2-28 September 1958), as David; no cat. Indianapolis, Herron Museum of Art. The Romantic Era: Birth and Flowering 1750-1850 (1965), no. 26 (repr.), Circle of David, La Citoyenne Crouzet. Poughkeepsie, Vassar College Art Gallery. Problem Pictures: Paintings without Authors (1965), no. 22, Circle of Jacques Louis David, La Citoyenne Crouzet (?), ca. 1800. Kansas City, Nelson Gallery and Atkins Museum of Fine Arts. The Taste of Napoleon (1969), no. 23 (repr.), Circle of David, La Citoyenne Crouzet.
Artista · 1555
Jean-Marc Nattier (French, 1685–1766) · 1752
Eugène Boudin (French, 1824–1898) · 1864
Nicolas Lancret (French, 1690–1743) · 1715
Andrea da Firenze (Italian, 1379) · 1360
The sitter's dress deliberately evokes ancient Roman costume. However, the white muslin and straightforward cut also derives from earlier English fashions that favored simplicity in contrast to the elaborate, colorful clothing favored earlier in the 1700s. The transparency of her dress also carries political and cultural meaning: during the French Revolution in 1789, costume began to signify political allegiance, a sign of the character of the person who wore it. For women, transparency became increasingly literal, as in the sheer fabric worn by Crouzet, who came from a family of active revolutionaries.
Ventas observadas: 0 · Ventas comparables: 0 · Procedencia: 8 · Exposiciones: 4.