Provenance

William H. Stewart

American, 1820 - 1897

Explore selected works

A group of eight men looking at a nude woman posing on a marble tabletop stand in a pink room with shiny gold furniture and fittings, with multicolored marble columns leading to a space filled with paintings and sculpture in this horizontal painting. The woman and most of the men have pale, peachy skin while a couple of the men appear to have darker, olive-toned skin. To our left, the men wear tight-fitting jackets and stockings in tones of rose pink, shimmering gray, royal or powder blue, flamingo pink, caramel brown, scarlet red, black, or white. Their hair is coiffed with puffs, rolled curls, and ponytails. Many hold gold-tipped walking sticks or canes, and a few hold black hats tucked under one elbow. They lean forward or back, or tip their heads together as they gaze at the nude woman. The faces and clothing of the men are painted with short dashes and touches of paint, creating the impression of a rough texture. One more man, in silver gray, leans over the large table on which the woman stands, to our right, and seems to study her feet. The woman poses with her back to us, most of her weight on her left leg so that hip angles up. She raises both arms so her left breast is outlined against the pink wall, and she looks down toward the men from over her left shoulder. A flower is tucked into blond hair piled on her head. She has a straight nose and apple-red lips. Her skin is painted smoothly with more blended brushstrokes. A white drapery covers her feet, and a pile of patterned fabric in turquoise, petal pink, black, and topaz blue, presumably clothing, is heaped on a stool next to the table, near a pair of heeled slippers. The base of the table is made from glimmering gold to look like muscular, nude men supporting the round, pine-green marble top on their shoulders and backs. The room has rose-pink walls above a wide band of ivory-white molding, with sapphire-blue and emerald-green paneling below. A gold-framed mirror, half again the height of the woman, hangs on the wall behind her, to our right. Pearl-white and pale moss-green columns flank the entrance to a room beyond the men, to our left. The ceiling of that room is painted loosely with azure blue, platinum gray, and touches of tomato red. Paintings and statues line the walls. The men and furniture reflect in the shiny white floor. The painting is signed at dated in the lower right corner: “Fortuny ‘74.”
Mariano Fortuny Marsal, The Choice of a Model, 1868-1874, oil on wood, Corcoran Collection (William A. Clark Collection, 1926), 2015.143.12

The Choice of a Model

Mariano Fortuny Marsal · 1868-1874 · oil on wood ·  Accession ID  2015.143.12

This painting depicts a white stone structure with a brown and gray roof surrounded by greenery and foliage. The walls and roof of the building are textured with the outlines of small stones, and the wall of the building directly across from us has a dark doorway at its center. Two people are visible on either side of this doorway. On the left, a person with light brown skin and short black hair stands with their hands on their hips. They wear a blue shirt and cream-colored pants, with a large tan necklace or garland around their neck. On the right, another person sits against the wall, wearing a bright yellow garment with pink and blue sleeves. They also appear to have light brown skin and black hair put up into two small bunches. Greenery hangs above the roof of the building, and the ground is depicted in dusty earth tones. The brushstrokes in the painting are thick and visible, and details, especially those in the people, are suggested with daubs of paint.
Mariano Fortuny Marsal, Roma Caves, Granada, c. 1871, oil on wood, Corcoran Collection (William A. Clark Collection, 1926), 2016.22.5

Roma Caves, Granada

Mariano Fortuny Marsal · c. 1871 · oil on wood ·  Accession ID  2016.22.5

Sir Lawrence Alma-Tadema, A Difficult Line from Horace, 1881, oil on wood, Corcoran Collection (William A. Clark Collection, 1926), 2015.19.17

A Difficult Line from Horace

Sir Lawrence Alma-Tadema · 1881 · oil on wood ·  Accession ID  2015.19.17

Romà Ribera Cirera, The Café Singer, 1876, oil on wood, Corcoran Collection (William A. Clark Collection, 1926), 2015.19.46

The Café Singer

Romà Ribera Cirera · 1876 · oil on wood ·  Accession ID  2015.19.46