Is Yvonne by Bouguereau in the Mileaukee Art Musea

French academic painter (1825–1905)

William-Adolphe Bouguereau
Self portrait (1879)
Born	(1825-11-30)thirty Nov 1825 La Rochelle, Kingdom of French republic
Died	19 August 1905(1905-08-19) (aged 79) La Rochelle, French Tertiary Republic
Nationality	French
Known for	Painter
Notable work	The Birth of Venus The Maverick
Movement	Realism, Academic Art
Spouse(south)	Nelly Monchablon (thousand. 1866; died 1877) Elizabeth Jane Gardner (one thousand. 1896)

William-Adolphe Bouguereau (French pronunciation: [wiljam.adɔlf buɡ(ə)ʁo]; thirty November 1825 – 19 Baronial 1905) was a French academic painter. In his realistic genre paintings he used mythological themes, making mod interpretations of classical subjects, with an emphasis on the female homo body.^[ane] During his life, he enjoyed significant popularity in French republic and the United States, was given numerous official honors, and received superlative prices for his work.^[2] As the quintessential salon painter of his generation, he was reviled by the Impressionist avant-garde.^[2] Past the early on twentieth century, Bouguereau and his art roughshod out of favor with the public, due in part to changing tastes.^[2] In the 1980s, a revival of interest in figure painting led to a rediscovery of Bouguereau and his piece of work.^[2] Throughout the course of his life, Bouguereau executed 822 known finished paintings, although the whereabouts of many are nevertheless unknown.^[3]

Life and career [edit]

Formative years [edit]

William-Adolphe Bouguereau was born in La Rochelle, France, on 30 November 1825, into a family of wine and olive oil merchants.^[4] The son of Théodore Bouguereau (born 1800) and Marie Bonnin (1804), known as Adeline, William was brought upward a Catholic. He had an elder blood brother, Alfred, and a younger sister, Marie (known as Hanna), who died when she was seven. The family unit moved to Saint-Martin-de-Ré in 1832. Some other sibling was built-in in 1834, Kitty.^[5] At the age of twelve, Bouguereau went to Mortagne-sur-Gironde to stay with his uncle Eugène, a priest, and developed a honey of nature, religion and literature.^[6] In 1839, he was sent to study for the priesthood at a Catholic college in Pons. Here he was taught to draw and paint by Louis Sage, who had studied under Ingres. Bouguereau reluctantly left his studies to render to his family unit, now residing in Bordeaux. There he met a local artist, Charles Marionneau, and commenced at the Municipal Schoolhouse of Drawing and Painting in Nov 1841. Bouguereau as well worked as a shop assistant, hand-colouring lithographs and making small-scale paintings that were reproduced using chromolithography. He was soon the best pupil in his class, and decided to become an creative person in Paris. To fund the move, he sold portraits – 33 oils in three months. All were unsigned and only one has been traced.^[5] In 1845, he returned to Mortagne to spend more than time with his uncle.^[vi] He arrived in Paris in March 1846, anile twenty.^[5]

Égalité devant la mort (Equality Before Expiry), 1848, oil on canvas, 141 × 269 cm (55.five × 105.9 in), Musée d'Orsay, Paris. Equality is Bouguereau's first major painting, produced after ii years at the École des Beaux-Arts de Paris at the historic period of 23.^[7]

Bouguereau became a pupil at the École des Beaux-Arts.^[four] To supplement his formal grooming in drawing, he attended anatomical dissections and studied historical costumes and archeology. He was admitted to the studio of François-Édouard Picot, where he studied painting in the academic fashion. Dante and Virgil in Hell (1850) was an early example of his neo-classical works. Academic painting placed the highest status on historical and mythological subjects, and Bouguereau determined to win the Prix de Rome, which would proceeds him a three-twelvemonth residence at the Villa Medici in Rome, Italian republic, where in add-on to formal lessons he could report at beginning hand the Renaissance artists and their masterpieces, too every bit Greek, Etruscan, and Roman antiquities.^[eight]

Villa Medici, Rome 1851–1854 [edit]

The young artist entered the Prix de Rome contest in Apr 1848. Soon after work began there were riots in Paris, and Bouguereau enrolled in the National Guard. Afterwards an unsuccessful attempt to win the prize, he entered again in 1849. Following 106 days of contest, he once again failed to win. His 3rd attempt commenced unsuccessfully in April 1850 with Dante and Virgil but five months afterwards, he heard he had won a joint first prize for Shepherds Find Zenobia on the Banks of the Araxes.^[8]

Forth with other category winners, he set off for Rome in December and finally arrived at the Villa Medici in January 1851. Bouguereau explored the urban center, making sketches and watercolours equally he went. He also studied classical literature, which influenced his subject area choice for the remainder of his career.^[8] He walked to Naples and on to Capri, Amalfi and Pompeii. Withal based in Rome and working difficult on course work, at that place were more explorations of Italian republic in 1852. Although he had a potent admiration for all traditional art, he particularly revered Greek sculpture, Leonardo da Vinci, Raphael, Michelangelo, Titian, Rubens and Delacroix. In April 1854, he left Rome and returned to La Rochelle.^[five]

Elevation of career [edit]

Bouguereau, painting within the traditional academic fashion, exhibited at the annual exhibitions of the Paris Salon for his entire working life. An early on reviewer stated, "M. Bouguereau has a natural instinct and knowledge of contour. The eurythmie of the human trunk preoccupies him, and in recalling the happy results which, in this genre, the ancients and the artists of the sixteenth century arrived at, one can simply congratulate M. Bouguereau in attempting to follow in their footsteps ... Raphael was inspired past the ancients ... and no 1 defendant him of not existence original."^[9]

Raphael was a favourite of Bouguereau and he took this review as a loftier compliment. He had fulfilled one of the requirements of the Prix de Rome by completing an old-master copy of Raphael's The Triumph of Galatea. In many of his works, he followed the aforementioned classical approach to composition, form, and subject thing.^[10] Bouguereau's graceful portraits of women were considered very mannerly, partly because he could beautify a sitter while too retaining her likeness.

Although Bouguereau spent most of his life in Paris, he returned to La Rochelle again and again throughout his professional life. He was revered in the town of his birth and undertook decorating commissions from local citizens. From the early 1870s, he and his family spent every summer in La Rochelle. In 1882, he decided that rather than rent he would buy a house, too as local subcontract buildings. By August of that year, the family unit's permanent summer base was on the rue Verdière. The artist commenced several paintings here and completed them in his Paris studio.^[5]

Bouguereau flourished afterward his Villa Medici residence. In 1854–55 he decorated a pavilion at the m business firm of a cousin in Angoulins, including four large paintings of figures depicting the seasons. He was happy to undertake other commissions to pay off the debts accrued in Italia and to assist his penniless mother. He decorated a mansion with nine big paintings of allegorical figures. In 1856, the Ministry of Land for Fine Arts commissioned him to paint Emperor Napoleon III Visiting the Victims of the Tarascon Flood. In that location were decorations for the chapel at Saint-Clotilde. He received the Legion of Honour on 12 July 1859. By this time, Bouguereau was turning away from history painting and lengthy commissions to work on more than personal paintings, with realistic and rustic themes.^[5]

Past the late 1850s, he had fabricated strong connections with art dealers, specially Paul Durand-Ruel (afterwards the champion of the Impressionists), who helped clients buy paintings from artists who exhibited at the Salons.^[11] Thanks to Durand-Ruel, Bouguereau met Hugues Merle, who subsequently often was compared to Bouguereau. The Salons annually drew over 300,000 people, providing valuable exposure to exhibited artists.^[12] Bouguereau's fame extended to England by the 1860s.^[13] Three paintings were shown at the 1863 Salon and Holy Family (At present at Chimei Museum) was sold to Napoleon III, who presented information technology to his wife the Empress Eugénie, who hung it in her Tuileries apartment.^[5]

Bather (1864), a shocking nude, was submitted to an exhibition in Ghent, Belgium. It was a spectacular success and purchased by the museum at great expense. At this time, William took on decorative work at the G Théâtre, Bordeaux, which lasted 4 years. In 1875, with administration, he began work on a La Rochelle chapel ceiling, producing six paintings on copper over the next six years. Once installed in the city in summer 1875 he began Pietà, i of his greatest religious paintings and shown at the 1876 Salon, in tribute to his son Georges. At the behest of Rex William 3 of the Netherlands, Bouguereau went to Het Loo Palace in May 1876. The rex admired the artist and they spent intimate times together. In May 1878 the Paris Universal Exhibition opened to showcase French work. Bouguereau found and borrowed twelve of his paintings from their owners, including his new work Nymphaeum.^[five]

Bouguereau was a staunch traditionalist whose genre paintings and mythological themes were mod interpretations of Classical subjects, both pagan and Christian, with a concentration on the naked female grade. The idealized world of his paintings brought to life goddesses, nymphs, bathers, shepherdesses, and madonnas in a way that appealed to wealthy art patrons of the era.

Bouguereau employed traditional methods of working up a painting, including detailed pencil studies and oil sketches, and his conscientious method resulted in a pleasing and accurate rendering of the human course. His painting of skin, easily, and feet was particularly admired.^[14] He also used some of the religious and erotic symbolism of the One-time Masters, such equally the "broken pitcher" which connoted lost innocence.^[15]

Bouguereau received many commissions to decorate individual houses and public buildings, and, early, this added to his prestige and fame. As was typical of such commissions, he would sometimes paint in his own style, and at other times accommodate to an existing group style. He as well made reductions of his public paintings for sale to patrons, of which The Annunciation (1888) is an example.^[16] He was also a successful portrait painter and many of his paintings of wealthy patrons remain in private hands.^[17]

Académie Julian [edit]

From the 1860s, Bouguereau was closely associated with the Académie Julian where he gave lessons and advice to art students, male and female, from around the globe. During several decades he taught drawing and painting to hundreds, if non thousands, of students. Many of them managed to institute artistic careers in their own countries, sometimes following his academic style, and in other cases, rebelling confronting it, similar Henri Matisse. He married his well-nigh famous pupil, Elizabeth Jane Gardner, after the death of his showtime wife.

Bouguereau received many honors from the Academy: he became a Life Fellow member in 1876; received the Grand Medal of Honour in 1885;^[xviii] was appointed Commander of the Legion of Laurels in 1885; and was made K Officier of the Legion of Award in 1905.^[19] He began to teach drawing at the Académie Julian^[20] in 1875, a co-ed art institution contained of the École des Beaux-Arts, with no entrance exams and nominal fees.^[21]

Wives and children [edit]

In 1856, William began living with 1 of his models, Nelly Monchablon, a 19-year-one-time from Lisle-en-Rigault. Living together out of marriage, the pair kept their liaison a undercover. Their outset child, Henriette, was born in Apr 1857; Georges was born in January 1859. A 3rd child, Jeanne, was born 25 December 1861. The couple married quietly (for many assumed they were already midweek) on 24 May 1866. Eight days later, Jeanne died from tuberculosis. In mourning, the couple went to La Rochelle, and Bouguereau fabricated a painting of her in 1868. A 4th child, Adolphe (known every bit Paul), was born in Oct 1868. Aged 15, Georges' health suffered, and his mother took him away from the bad air of Paris. However, he died on 19 June 1875. Nelly had a fifth child in 1876, Maurice, but her health was declining and the doctors suspected that she had contracted tuberculosis. She died on three Apr 1877, and baby Maurice died two months later.^[22]

The artist planned to marry Elizabeth Jane Gardner, a student whom he had known for ten years, but his mother was opposed to the idea. Before long after Nelly's death, she made Bouguereau swear he would non remarry within her lifetime. After his mother's decease, and after a nineteen-year date, he and Gardner married in Paris in June 1896.^[22] His wife connected to piece of work as his private secretary, and helped to organize the household staff. His son Paul contracted tuberculosis in early 1899; Paul, his stepmother, and Bouguereau went to Menton in the south. When the stay was prolonged, the creative person found a room in which to paint. Paul died at his father's firm in April 1900, aged 32; Bouguereau had outlived four of his five children, only Henriette outlived him. Elizabeth, who was with her husband to the terminate, died in Paris in January 1922.^[5]

Homes [edit]

When Bouguereau arrived in Paris in March 1846, he resided at the Hotel Corneille at five rue Corneille. In 1855, after his stay in Rome, he lived at 27 rue de Fleurus, and the following year rented a fourth-floor studio at 3 rue Carnot, almost his flat. In 1866, the year of his wedlock to Nelly, he bought a vast plot of country on the rue Notre-Dame-des-Champs, and an architect was commissioned to design a thousand firm with a summit-floor studio. The family unit was installed in 1868, together with v servants and with his mother, Adeline, visiting daily. Bouguereau spent the remainder of his life here and at La Rochelle.^[five]

Subsequently years and death [edit]

Bouguereau was an assiduous painter, often completing twenty or more easel paintings in a single year. Fifty-fifty during the twilight years of his life, he would ascent at dawn to work on his paintings vi days a calendar week and would continue painting until nightfall.^[five] Throughout the class of his lifetime, he is known to have painted at least 822 paintings. Many of these paintings have been lost.^[3] Near the finish of his life he described his love of his fine art: "Each mean solar day I go to my studio full of joy; in the evening when obliged to end because of darkness I tin can scarcely look for the next morning to come ... if I cannot give myself to my dear painting I am miserable."^[23]

In the spring of 1905, Bouguereau's house and studio in Paris were burgled. On 19 August 1905, aged 79, Bouguereau died in La Rochelle from heart affliction. There was an outpouring of grief in the town of his birth. Afterwards a Mass at the cathedral, his body was placed on a train to Paris for a second ceremony. Bouguereau was laid to residue with Nelly and his children at the family vault at Montparnasse Cemetery.^[five]

Notable works [edit]

Depictions of women in classical themes
Innocence (1893)
Soir, Evening or Evening Mood (1882)
Bacchante (1894)
Psyche et Fifty'Amour (1889)

Depictions of nude women
The Bather or Baigneuse (1879)
After the Bathroom (1875)
The Wave (1896)
Baigneuse (1870)
Les Deux Baigneuses (1884)

Reputation [edit]

In his own time, Bouguereau was considered to be 1 of the greatest painters in the globe past the bookish art community, and simultaneously he was reviled by the avant-garde. He besides gained wide fame in Kingdom of belgium, holland, Portugal, Kingdom of spain, Italia, Romania and in the United States, and commanded high prices.^[17] His works often sold within days of completion. Some were viewed by international collectors and bought before work had even finished.^[5]

Bouguereau'due south career was nearly a direct ascension with hardly a setback.^[24] To many, he epitomized sense of taste and refinement, and a respect for tradition. To others, he was a competent technician stuck in the past. Degas and his assembly used the term "Bouguereauté" in a derogatory manner to describe any creative style reliant on "slick and bogus surfaces",^[24] also known as a licked terminate. In an 1872 letter, Degas wrote that he strove to emulate Bouguereau's ordered and productive working style, although with Degas' famous trenchant wit, and the artful tendencies of the Impressionists, information technology is possible the argument was meant to exist ironic.^[17] Paul Gauguin loathed him, rating him a round zero in Racontars de Rapin and later describing in Avant et après (Intimate Journals) the unmarried occasion when Bouguereau made him smile on coming beyond a couple of his paintings in an Arles' brothel, "where they belonged".^[25] ^[26]

Bouguereau's works were eagerly bought by American millionaires who considered him the most important French artist of that time.^[17] For example, Nymphs and Satyr was purchased starting time by John Wolfe, then sold by his heiress Catharine Lorillard Wolfe to hotelier Edward Stokes, who displayed it in New York Urban center's Hoffman House Hotel.^[27] Two paintings by Bouguereau in the Nob Hill mansion of Leland Stanford were destroyed in the San Francisco convulsion and fire of 1906.^[28] Golden Rush tycoon James Ben Ali Haggin and his family unit, who commonly eschewed the nude, made an exception for Bouguereau's Nymphaeum.

All the same, even during his lifetime, there was critical dissent in assessing his work; the art historian Richard Muther wrote in 1894 that Bouguereau was a human being "destitute of creative feeling but possessing a cultured taste [who] reveals... in his feeble mawkishness, the fatal refuse of the sometime schools of convention." In 1926, American art historian Frank Jewett Mather criticized the commercial intent of Bouguereau'due south work, writing that the artist "multiplied vague, pink effigies of nymphs, occasionally draped them, when they became saints and madonnas, painted on the nifty scale that dominates an exhibition, and has had his reward. I am convinced that the nude of Bouguereau was prearranged to come across the ideals of a New York stockbroker of the black walnut generation." Bouguereau confessed in 1891 that the direction of his mature piece of work was largely a response to the market place: "What do you wait, you accept to follow public taste, and the public only buys what information technology likes. That's why, with time, I inverse my way of painting."^[29]

Bouguereau cruel into disrepute after 1920, due in role to changing tastes.^[eight] Comparison his work to that of his Realist and Impressionist contemporaries, Kenneth Clark faulted Bouguereau'due south painting for "lubricity", and characterized such Salon art every bit superficial, employing the "convention of smoothed-out form and waxen surface."^[30]

The New York Cultural Center staged a bear witness of Bouguereau's work in 1974—partly equally a marvel, although curator Robert Isaacson had his middle on the long-term rehabilitation of Bouguereau's legacy and reputation.^[31] In 1984, the Borghi Gallery hosted a commercial show of 23 oil paintings and one drawing. In the same year a major exhibition was organized by the Montreal Museum of Fine Arts in Canada. The exhibition opened at the Musée du Petit-Palais, in Paris, traveled to The Wadsworth Atheneum in Hartford, and concluded in Montréal. More recently, resurgence in the artist's popularity has been promoted by American collector Fred Ross, who owns a number of paintings by Bouguereau and features him on his website at Art Renewal Centre.^[32] ^[33]

In 2019, the Milwaukee Art Museum assembled more than than twoscore of Bouguereau'south paintings for a major retrospective of his work, which co-ordinate to the Wall Street Periodical, asked the readers to "run across Bouguereau through the eyes of an age when he was lionized, and Impressionism was dismissed as 'French freedom.' "^[34] The exhibition later was scheduled to travel to the Memphis Brooks Museum of Art in Memphis, Tenn., and so to the San Diego Museum of Art.^[35]

Prices for Bouguereau'southward works accept climbed steadily since 1975, with major paintings selling at high prices: $i,500,000 in 1998 for The Heart's Awakening, $two,600,000 in 1999 for The Motherland and Clemency at sale in May 2000 for $3,500,000. Bouguereau's works are in many public collections.

Notre Dame des Anges ("Our Lady of the Angels") was last shown publicly in the United States at the World'southward Columbian Exhibition in Chicago in 1893. It was donated in 2002 to the Daughters of Mary Mother of Our Savior, an club of nuns affiliated with Clarence Kelly's Traditionalist Catholic Gild of St. Pius V. In 2009, the nuns sold information technology for $450,000 to an art dealer, who was able to sell information technology for more than than $2 million. Kelly was afterward found guilty by a jury in Albany, New York, of defaming the dealer in remarks fabricated in a television interview.^[36]

Proper name [edit]

Sources on his full name are contradictory: information technology is sometimes given as William-Adolphe Bouguereau (composed name), William Adolphe Bouguereau (usual and ceremonious-but names according to the French tradition), while in other occasions it appears as Adolphe William Bouguereau (with Adolphe as the usual proper name). However, he used to sign his works simply as William Bouguereau (hinting "William" was his given proper name, any the lodge), or more precisely every bit "W.Bouguereau.date" (French alphabet) and afterwards as "W-BOVGVEREAV-date" (Latin alphabet).

Awards and honours [edit]

1848: Second Prix de Rome, for Saint Pierre après sa délivrance de prison house, vient retrouver les fidèles chez Marie.
1850: Premier Prix de Rome, for Zenobie retrouvée par les bergers sur les bords de fifty'Araxe.
1859: Knight of the Legion of Award^[nineteen]
1876: Officer of the Legion of Honour^[19]
1881: Knight in the Gild of Leopold^[37]
1885: Commander of the Legion of Honour^[19]
1885: Thousand Medal of Honour^[18]
1890: Member of the Royal Academy of Science, Letters and Fine Arts of Belgium^[38]
1905: One thousand Officier of the Legion of Honour^[19]

In literature [edit]

In The King in Yellow, by Robert West. Chambers, he is mentioned in various tales equally a instructor at the École des Beaux-Arts.

In Sir Arthur Conan Doyle's novel The Sign of the Four (1890), the graphic symbol Mr Sholto remarks, "there cannot be the least question about the Bouguereau. I am partial to the modern French school."^[39]

Selected works [edit]

La Danse (1856)
Bather (1864)
Lonely in the Earth (Latest 1867)
The Knitting Girl (1869)
The Elder Sister (1869)
Italian Daughter at the Fountain (1870)
Baigneuse (1870)
Nymphs and Satyr (1873)
Homer and his Guide (1874)
At the Edge of the River (1875)
The Grape Picker (1875)
The Little Knitter (1875)
La Jeunesse et 50'Amour (1877)
The Donkey Ride (1878)
The Nascence of Venus (1879)
Girl Defending herself confronting Cupid (1880)
Vocal of the Angels (1881)
Evening Mood (1882)
The Nut Gatherers (1882)
Alma Parens of Female parent French republic (1883)
The Youth of Bacchus (1884)
Biblis (1884)
The Return of Bound (1886)
Woman with Convict Cupid (1886)
The First Mourning (1888)
The Shepherdess (1889)
Les murmures de l'Amour (1889)
Gabrielle Cot, a portrait of Cot'south daughter, 1890
Fifty'Flirtation et Psyché, enfants (1890)
The Bohemian (1890)
Little Beggars (1890)
Le Travail interrompu (1891)
The Goose Girl (1891)
The Wasps Nest (1892)
Innocence (1893)
Pleasant Burden (1895)
The Ravishment of Psyche (1895)
The Moving ridge (1896)
Adoration (1897)
Rêve de printemps (1901)
Yvonne on the Doorstep (1901)
The Oreads (1902)
Oceanid (1904)
In The Wood (1905)

Source

Gallery [edit]

Fraternal Love (1851)
The 24-hour interval of the Dead (1859)
Charity (1859)
The Haymaker (1869)
Italian Girl Drawing Water (1871)
Clemency (1878)
Les Enfants à 50'Agneau (1879)
A Immature Girl Defending Herself Confronting Eros (1880)
Fishing For Frogs (1882)
Biblis (1884)
Seated Nude (1884)
The Invasion (1892)
Daisies (1894)
The Shepherdess (1895)
Inspiration (1898)
Earlier The Bath (1900)
Two Sisters (1901)

Meet also [edit]

Gustave Doyen
Sir Lawrence Alma-Tadema

References [edit]

^ Wissman, Fronia Eastward. (1996). Bouguereau. San Francisco: Pomegranate Artbooks. p. ten. ISBN978-0876545829.
^ ^a ^b ^c ^d Glueck, Grace (six January 1985). "To Bouguereau, Art Was Strictly 'The Beautiful'". The New York Times . Retrieved 27 January 2013.
^ ^a ^b Ross, Fred. "William Bouguereau: Genius Reclaimed". Art Renewal. Archived from the original on eighteen September 2015. Retrieved 27 January 2013.
^ ^a ^b Wissman 1996, p. 11.
^ ^a ^b ^c ^d ^east ^f ^g ^h ⁱ ^j ^k ⁵⁰ ¹⁰⁰⁰ Bartoli, Damien and Ross, Frederick C. William Bouguereau: His Life and Works, 2010.
^ ^a ^b Vachon, Marius, William-Adolphe Bouguereau (2018), pp. 241–244 (in German)
^ "Musée d'Orsay: William Bouguereau Equality before Death". world wide web.musee-orsay.fr.
^ ^a ^b ^c ^d Andrews, Gail (2011). Birmingham Museum of Fine art: Guide to the Drove. London: D Giles Ltd. pp. 222–223. ISBN978-1904832775.
^ Wissman 1996, p. 24.
^ Wissman 1996, p. 25.
^ Wissman 1996, p. xiii.
^ Wissman 1996, p. 70.
^ Wissman 1996, p. fourteen.
^ Wissman 1996, p. 112.
^ Wissman 1996, p. lx.
^ Wissman 1996, p. 31.
^ ^a ^b ^c ^d Wissman 1996, p. 103.
^ ^a ^b Wissman 1996, p. xvi.
^ ^a ^b ^c ^d ^eastward Ministère de la Culture et de la Advice, Base Léonore, Archives Nationales
^ Collier, Peter; Lethbridge, Robert (1994). Artistic Relations: Literature and the Visual Arts in Nineteenth-century France. London: Yale University Printing. p. 50. ISBN9780300060096.
^ Wissman 1996, p. 110.
^ ^a ^b Wissman 1996, p. 15.
^ Wissman 1996, p. 114.
^ ^a ^b Wissman 1996, p. 9.
^ Bertrand, Anne (2 February 1995). "Gauguin le rapin: ""Racontars de rapin, suivi de Art de Papou & chant de Rossignoou"" et ""La lutte pour les peintres""". liberation.fr (in French). Libération.
^ Intimate Journals , p. 174, at Google Books
^ Jacolbe, Jessica (12 March 2019). "The painting that changed New York". JSTOR.
^ Osborne, Carol 1000. Museum Builders in the Westward: The Stanfords as Collectors and Patrons of Art, 1870–1906. Stanford University Museum of Art, 1986, p. 18.
^ Jensen, Robert (1996). Marketing Modernism in Fin-de-siècle Europe. ISBN0691029261.
^ Clark, Kenneth. The Nude; A Written report in Ideal Form, 163–164. Princeton University Printing, 1956. ISBN 0-691-01788-3
^ IIsaacson, Robert. William-Adolphe Bouguereau (catalogue). New York Cultural Center and Farleigh Dickinson, 1974.
^ Berwick, Carly (twenty October 2005). "Who Is Ownership All Those Bouguereaus?". New York Dominicus . Retrieved 31 March 2022.
^ Roth, Marking (20 August 2007). "Gifted creative person? Bouguereau'southward work controversial more than than a century later his expiry". Pittsburgh Post-Gazette . Retrieved 31 March 2022.
^ Gibson, Eric (26 February 2019). "Re-Examining A Reviled Main". The Wall Street Journal . Retrieved 26 February 2019.
^ "Bouguereau & America at The San Diego Museum of Art". San Diego Museum of Art.
^ Author, Mark Oswald | Journal Staff. "Gallery Owner Didn't Cheat Nuns". world wide web.abqjournal.com.
^ Handelsblad (Het), 15 May 1881.
^ Index biographique des membres et associés de fifty'Académie royale de Belgique (1769–2005).
^ Doyle, Arthur Conan (2011) [1890]. Sherlock Holmes: The Sign of Four (Sherlock Complete Ready ii). Headline. p. 17. ISBN978-0-7553-8765-six.

External links [edit]

William-Adolphe Bouguereau: The Complete Works

innes-noaddeadied.blogspot.com

Source: https://en.wikipedia.org/wiki/William-Adolphe_Bouguereau