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Georges Clairin - Portrait of Sarah Bernhardt
Armand Point - Peacock Casket
Camille Alaphilippe - Woman with Monkey
Aristide  Maillol - Seated female nude with her left hand on her head. Study for The Mediterranean
Louis-Robert Carrier-Belleuse - The Struggle for Life vase
Léon  Lhermitte - Les Halles
Fernand Pelez - The Death of Emperor Commodus
Pierre-Auguste Renoir - Ambroise Vollard in a Red Scarf
Jean Carriès - My Portrait
Emile Gallé - Two-handled vase
Georges-Henri Lemaire - Silence or Immortality
Charles-Alexandre Giron - Woman wearing gloves, also known as The Parisienne
Paul Sérusier - Tricoteuse au bas rose
Pierre-Auguste  Renoir - Portrait of Madame de Bonnières
Berthe Morisot - Jeune fille en décolleté - La fleur aux cheveux
Pierre Bonnard - Conversation à Arcachon
Pierre-Adrien Dalpayrat - Dish : The judgment of Paris
Joseph-Marius Avy  - Bal blanc
Marie Constantine Bashkirtseff - Parisienne, Portrait of Irma
Maurice Denis - Female bathers at Perros-Guirec
Fernand Pelez - La Vachalcade
Alfred Sisley - The Church at Moret (Evening)
Théophile Alexandre Steinlen - Ball on the 14th of July
Edmond  Aman-Jean - Miss Ella Carmichaël

Parisienne, Portrait of Irma

Marie Constantine
Bashkirtseff
Gavronzi (Ukraine), 1858 – Paris, 1884
1882
Oil on canvas
55,5 x 46 cm

The portrait of this round-faced young woman wearing a simple straw hat adorned with a garland of flowers was exhibited at the Salon of French Artists in 1883 under the title Parisienne.
This face seems to match the one mentioned several times in the Diary of Marie Bashkirtseff under the name of Irma: “Well, Irma’s head is nice and quite boldly painted, but it is a thing without pretention” (1 May 1883).
Enrolled as a pupil at the young girls’ painting school at the Julian Academy since 1877, young Marie became a confirmed proponent of naturalism. She was a friend and admirer of the painter Jules Bastien-Lepage (1848-1884), the leader of this new trend which marked a break away from the tradition of retrospective subjects.

Her Parisienne was painted at a time when Marie was attempting to tackle outdoor painting, and shows a desire to “grasp nature in action” (Diary, 7 August 1882) in order to paint life “with tones that sing, and all real tones sing” (Diary, 30 August 1882). Hence the smiling expression of the model seems to have been captured in the moment during a walk.

During the last four decades of her short life, Marie Bashkirtseff, the daughter of a Russian aristocrat, devoted herself passionately to learning painting while writing a personal diary which was published after her death. In 1887, an initial expurgated version of the Diary was published.  Marie’s mother distributed drawings, letters, paintings and objects that belonged to her daughter like so many precious relics, in order to honour the memory of the young woman.
At its opening in 1902, the Petit Palais received the gift of a painting sent from Nice, preceded by a letter to the curator in which Mrs Bashkirtseff said, “I am sure that you will want to honour the memory of Marie Bashkirtseff, Russian by birth, French and Parisian in her heart and education, by accepting to display one of her paintings in your new museum.”

Marks Inscriptions Hall-marks: 
Signed and dated : Bashkirtseff 1882
Donor, testator or seller: 
Donated by Marie Babadine-Bashkirtseff, 1902
Inventory number: 
PPP00129
Inventory number : PPP00129
Room 16 : Realist portraits
Paris 1900
Roll your mouse over the exhibit to view detail.
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