kellermann photos on Flickr

Sandy Kellermann and her 11-year-old son, Ed, look through jewelry at the Artisan Market in Ann Arbor, Mich. on on Mother's Day, May 9, 2010. Angela J. Cesere | AnnArbor.com

IMGP3246 by François MORARD

Kellermann

Valmy (F - Département Marne - 51 - Arrondissement de Sainte-Menehould) - Chapelle Kellermann by smily19652000

Ceremonie funeraire Toraja 99 (1) by Mathias Kellermann

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Village Wuring - Moni 6 by Mathias Kellermann

Pierre de sacrifices. Utilisée en cas de maladie, on y sacrifie exclusivement des poulets pour s'accorder la faveur des esprits et un bon rétablissement.

Volcan Kelimutu 17 by Mathias Kellermann

Chasseur / Hunter - Pays Ngada 25 by Mathias Kellermann

Chasseurs de sangliers et de cerfs

Maumere 24 by Mathias Kellermann

Men open at home today after road win by CM Life

Senior forward Chris Kellermann finished with a career-high 28 points and 13 rebounds in leading the Chippewas to a 55-53 season-opening win against Princeton.

Media Credit: John Brumbaugh

Rizieres Pays Mangarrai & Waerebo - Flores 17 by Mathias Kellermann

Maumere 16 by Mathias Kellermann

Au bal, 1875 by B

Berthe Morisot

Oil on canvas

Morisot took a model whose identity is unknown and adorned her with some of her own finery. This is the case with the fan from La Bergère et l'Oiseleur, a work produced in the second half of the 18th century, which is shown here wide open. In this way, Morisot provides essential information about her tastes.

Painted in 1875, this painting reminds us that Parisian social life that winter was marked by two balls given by the President of the Republic in the salons of the Élysée Palace, renovated in the style of the 18th century, Morisot, a young bride, had wanted to attend.*

From the exhibition

Berthe Morisot and the Art of the 18th Century

(18 October 2023 to 3 March 2024)

Morisot's work, which flourished mainly in the 19th century, reflects a fascination with modern life. However, many during her lifetime drew parallels between her work and that of the great French masters of the 18th century. It's no coincidence that Renoir described her as "the last elegant, feminine artist we've had since Fragonard". Paul Girard, at the artist's posthumous retrospective in 1896, had no hesitation in asserting: "This is the eighteenth century modernized".

The exhibition at the Musée Marmottan Monet focuses on this idea, presenting a series of carefully selected works. It invites us to discover the imprint of the eighteenth century on Morisot's work, juxtaposing her emblematic paintings with those of major figures such as Watteau, Boucher, Fragonard and Perronneau. A unique opportunity to understand the resonances between Impressionism and the Age of Enlightenment, and to plunge into the rich and complex world of Berthe Morisot.

[*Musée Marmottan Monet]

Taken in Musée Marmottan Monet

The mansion built for François Christophe Edmond Kellermann, duke of Valmy, who purchased the land (formerly a pleasure garden) in 1863; in 1882 it was sold to Jules Marmottan, inherited by his son Paul Marmottan in 1883. Marmottan decorated the building in the Empire style ("Le Style Empire"), bequeathing it and his collection to Académie des Beaux-Arts, on his death in 1932. Between 1940-7 Victorine Donop de Monchy donated her father's collection of Impressionist painting and then, in 1966, more than 100 Monets (including a number of large Water Lilies) were bequeathed by Michel Monet (son of Claude Monet).

In the 16th arrondissement

Pays Ngada 54 by Mathias Kellermann