It’s no wonder Vogue chose this painting to headline their February 2013 article on Impressionism, Fashion, and Modernity—this 1878 work by Jean Béraud is a fashion lover’s dream. And although the men far outnumber the women, it’s the ladies who steal this show. They preen throughout the well-appointed ballroom in magnificent dresses that evoke the designs of the most important couturier of their time, Charles Frederick Worth.
Worth is widely known as the “father of haute couture” and his atelier, the House of Worth, dressed royals, actresses, singers, and other fashionable ladies, some of whom would travel to Paris from all over the world to purchase their entire wardrobes from him. His work was known for its decadence and attention to detail. In fact, he had a special room in his atelier, the “salon de lumière,” that was lit first by candlelight, later by gas lamps, and eventually by electric fixtures, so clients could preview how the fabrics and colors they selected would look under artificial light.
Such thoroughness would definitely have been important to the grandes dames featured in this painting. Because everyone depicted represented actual, recognizable people—aristocrats, politicians, and others from high society. Béraud’s semi-fictional portrayal of this ball was based on an observed experience, and when this painting was exhibited at the Salon of 1878, part of its popular appeal was that these women were recognizable to visitors and reviewers of the Salon. See and be seen is taken to another level.
Image Credit: Jean Béraud. A Ball, 1878. Musée d’Orsay, Paris, RF 1994 15.
5 hours 41 min ago The Art Institute of Chicago Just like the museum's collection comes from artists around the world, so does the Museum Shop’s assortment of products. We source exclusive products from artisans that are inspired by the cultures, mediums, and techniques represented in our museum collection. View our assortment of unique items from India.
14 hours 49 min ago The Art Institute of Chicago NOW ON VIEW—Provoke: Photography in Japan between Protest and Performance, 1960–1975
Provoke was the English-language title for a Japanese photo magazine of the late 1960s; the name also designates the group of photographers and writers who put that formative publication together. Their influence has grown so great that the “Provoke era” is now international shorthand for sixties counterculture in Japan. This generational uprising swelled from the massive unrest, and sheer cultural disorientation, that accompanied the country’s transformation from ruined empire to superpower after World War II.
This exhibition places the achievements of Provoke alongside those of protesters and protest collectives, who made riveting photobooks, films, and photographs throughout the same era, as well as artists and art collectives keenly interested in live performance and its relation to the mechanical image.
18 hours 21 min ago The Art Institute of Chicago NEW ACQUISITION—In the early decades of the sixteenth century, Antwerp was a great center of commerce, finance, and luxury trade. The Flemish city attracted innovative painters like Quentin Massys, Jan Gossart, and Joos van Cleve working in a style that combined northern traditions with Italianate forms. Numerous other painters, whose work is only known under names of convenience, like the Master of the Lille Adoration, swelled the ranks of the Antwerp guild.
Saint Jerome in Penitence (by the Master of the Lille Adoration) is an ideal addition to our collection and can be seen alongside other exemplary paintings from Renaissance Antwerp—on view in Gallery 207.