Quote:

These two portraits are more conventional than the trio previously exhibited, yet only one displays a conventional name. I am afraid the other one, 'La Femme', gives no clue as to who she might be. By all standards, however, the two of them are extraordinary.

Giacomo Grosso - L'attrice Virgina Reyter
(oil on canvas, 1896)

Giacomo Grosso - La Femme
(oil on canvas, 1899)

I like this 1st one, her expression is like "I could care less." The 2nd one is so stiff, she looks like she has a board up her back. The dress is so pretty, she blends in with the couch.
These paintings are so very nice, I like them both.

So brilliant.

Grosso is certainly good at producing a portrait with real human feel but masking what might be intended.

Wonderful.

Thanks for your bright comments, dear friends.

Myrna, you are right, the second portrait is so stiff. I was tempted to omit it: could it be that she did have a board up her back while posing? But then, both the color and the outstanding overall elegance of the painting made me forget all other considerations.

And Roger, it is precisely Grosso's ability in masking what might actually be intended, as you so aptly put in your comment, which all along this thread has made me include several works that I otherwise might have omitted.

Miguel

Dear friends, I have been doubting whether or not I should post the below portrait since while highly artistic, it may be regarded as offensive particularly by people without much appreciation of what is, or is not, art. However, I have felt omitting it would be unjust to Giacomo Grosso, its author, for without a shadow of a doubt it is one of his most exquisite works of art.

A superb painting.

Very natural and beautiful.

I am sure that this is ok here.

If anyone is offended then they just do not understand.

As an aspiring artist the human form still requires the most study and application.

I love this painting.

Roger