Nymphs and Satyrs (1888)

Charles Edouard Edmond Delort: Nymphs and Satyrs

Farm Landscape (1888)

Paul-Louis Martin des Amoignes: Farm Landscape

Riverside Village at Dusk (1888)

Léon-Germain Pelouse: Riverside Village at Dusk

Harvest (1888)

Paul Emile Berthon: Harvest

The White Slave (1888)

Jean-Jules Antoine Lecomte du Noüy: The White Slave

The White Slave (1888) also achieved great renown, gracing the cover of a contemporary edition of Victor Hugo's Les Orientales and Gerard de Nerval's Voyage en Orient. The subject, one of the Georgian or Circassian concubines who on the basis of race was most highly prized in the Ottoman Empire, is rendered as an opulent object of consumption. The luxurious fabrics and succulent foods that surround her, the abstracted expression with which she contemplates the plumes of smoke curving upward from her lips, and her opaline, nearly boneless body present an impossible dream of leisure and pleasure. Although the composition is clearly indebted to the odalisques of Ingres and Gérôme, its sultry, seductive radiance bears an idiosyncratic stamp. [Art Renewal Center]

Cabinette de toilette (1888)

Maurice Lobre: Cabinette de toilette de Jacques-Emile Blanche

Maurice Lobre (1862-1951) was a French artist. He was born in Bordeaux and died in Paris. Lobre first gained recognition in the late 19th Century when his work was displayed at the Salon du Champ de Mars. In 1888 he received an honorary mention and a travel grant from the Salon. That summer he traveled to Normandy where he stayed with Jacques-Émile Blanche. By this time, Blanche regularly hosted popular artists. Degas and Whistler were among his most prominent guests. When Europe descended into chaos in the summer of 1914, Maurice Lobre helped depict its atrocities. [Gandalf’s Gallery]

Two Mothers (1888)

Léon Maxime Faivre: Two Mothers