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Strictly speaking, this is not an official self-portrait of Gonzalès, but the parallel it shares with her life at the time, as a young student, is undeniable. The artist depicted engages in her work upon the canvas, which she controls and the viewer is not allowed to see. Her
While studying under Manet, Gonzalès' self-portraits suggest that she was exploring her individuality and identity as an artist by presenting subtle correctives to Manet's version of her. Until 1872, she was strongly influenced by Manet but later developed her own, more personal style.
While studying under Manet, Gonzalès' self-portraits suggest that she was exploring her individuality and identity as an artist by presenting subtle correctives to Manet's version of her. Until 1872, she was strongly influenced by Manet but later developed her own, more personal style.
'Portrait of Eva Gonzalès' becomes a gateway into women’s artistic practice and the representation and self-presentation of women artists in 19th-century Paris and more broadly. Self-portraits from the 18th to the 20th century will be brought together with depictions of women artists by men to explore different constructions of gender ...
Eva Gonzalès (París, 19 de abril de 1849 – ibídem, 5 de mayo de 1883) fue una pintora impresionista francesa de origen español y monegasco. Hija del escritor español naturalizado francés, Enmanuel Gonzalès, comienza a estudiar pintura a los 16 años.
21 de oct. de 2022 · The exhibition also sets the portrait of Eva Gonzalès in a broader context by including self portraits made by women from the 18th to early 20th centuries, comparing and contrasting them with portraits painted of them by their male fellow artists and teachers.
Her pose, along with the white dress and the fluidity of the brushstrokes with which it is painted, recall eighteenth-century self portraits by women. In these they show themselves at their easels, dressed in beautiful, often white gowns, which attest to their success.
