40:
195:
153:, wearing only a skirt, but she is covering her breasts with her legs in a protective pose. The standing African woman is also topless, wearing a white loincloth, and she is covering her breasts with her hands. Her feet are whitened with chalk to show she is a foreign import, unlike the others, and tax has been paid on her. The taller, standing, young woman is wearing a translucent garment which clearly shows her breasts and
145:. Both male slaves, as well as three of the female slaves, bear a similarity in appearance perhaps suggesting that they are members of a family forced into slavery by economic conditions. All are wearing tags to indicate their availability as slaves. The youngest boy is completely naked, while the young man next to him is wearing a
222:
Naked girl, standing, almost full-on, leaning against a wooden partition. Her head tilted to the right, her blonde hair loose and falling, she leans her left hand against the planks. She wears, as a belt, a torn flap of black cloth, held in place by a red cord, which falls down her right leg. On her
161:
for the first time. The adolescent girl next to her is also topless and barefoot, wearing a skirt. The red-haired woman crouching next to them is wearing a loose garment which leaves both her breasts and her genitals exposed. The auctioneer sits eating his lunch with a very casual attitude.The stand
227:, etc. To the right, at the feet of the young girl, squatting on the ground, both hands on his knees, is a Negro wrapped in a striped burnous with a blue background, his head covered with a pink cloth, crowned with myrtle leaves. On the left, on the straw, a jar.
214:("Slaves for Sale"). It was to be the last painting exhibited by the artist, who died that same year. It is currently known only from a black and white reproduction, but the art critic
184:. Boulanger had visited Italy, Greece, and North Africa, and the painting reflects his attention to culturally correct details and skill in rendering the female form.
39:
247:
122:
409:
162:
is made of wood with a stick tied to a sheet of cloth providing shade. Some of the slaves lean on a white stone wall, on which is written in red,
377:
157:—she is trying to shield her eyes, perhaps because her potential buyers include former friends and neighbors, who are probably seeing her
429:
384:
194:
126:
141:
slave auction. It shows the marketing of seven young people, ranging in age from children to young adults, as
414:
404:
255:
142:
368:
Masler, Marilyn (2009). "Embracing the
Academic Tradition," in Masler, Marilyn and Pacini, Marina (eds.),
17:
419:
215:
424:
373:
102:
50:
177:
398:
170:
138:
206:
Two years later, in 1888, Boulanger exhibited a painting described as a pendant to
173:
68:
360:
351:
342:
125:
in the Arab world and the ancient world by
Boulanger's friend and fellow painter
150:
106:
98:
154:
146:
117:(Sale of Slaves) in the French press, and in English it has become known as
78:
77.5 cm Ă— 99 cm (30.5 in Ă— 39 in)
372:, Jackson, Tennessee: University Press of Mississippi, pp. 38–39.
234:
is thought to be in a private collection. The status and location of
356:, Paris: Librairie des Bibliophiles, Volume 8, 1886, pp. 31–32.
365:, Paris: Librairie des Bibliophiles, Volume 10, 1888, pp. 34.
193:
181:
158:
113:(A Slave Dealer in Rome), but as early as 1888 it was called
176:
of the period, it depicts an eroticized scene clad as a
121:. It is sometimes compared to or confused with various
202:, shown at the Paris Salon of 1888; location unknown.
218:
noted colors and other details in this description:
109:genre scenes. Its title in the Salon catalogue was
82:
74:
64:
56:
46:
32:
362:Le Livre d'Or de Salon de peinture et de sculpture
353:Le Livre d'Or de Salon de peinture et de sculpture
370:Carl Gutherz: Poetic Vision and Academic Ideals
223:neck hangs a small label on which is written:
344:L'Art français: revue artistique hebdomadaire
8:
389:A Dictionary of Greek and Roman Antiquities
341:Javel, Firmin (1888). "Le prochain Salon,"
391:, London: John Murray, pp. 1036–1042.
225:Virgo gallica honesta corpore, XVIII annum
149:. The young woman sitting next to them is
29:
166:, Latin for "Storax, Slave Merchant.'"
267:
97:is a painting first exhibited at the
18:The Slave Market (Boulanger painting)
7:
105:, who specialized in classical and
180:, as was customary at the time in
27:1886 painting by Gustave Boulanger
25:
38:
410:Paintings by Gustave Boulanger
111:Un Maquignon d’esclaves à Rome
1:
101:of 1886 by the French artist
359:Lafenestre, Georges (1888),
350:Lafenestre, Georges (1886),
446:
123:paintings of slave markets
310:Masler (2009), pp. 38–39.
37:
328:Lafenestre (1888), p.34.
283:Lafenestre (1886), p.31.
137:The painting depicts an
383:Smith, William (1875).
256:Slavery in ancient Rome
301:Smith (1875), p. 1040.
229:
203:
169:From a common type of
430:Paintings of children
274:Masler (2009), p. 39.
220:
197:
164:STORAX SERVORUM MANGO
319:Javel (1888), p. 5.
292:Javel (1888), p. 5.
198:Gustave Boulanger,
347:, 4 Feb 1888, p 5.
216:Georges Lafenestre
204:
86:Private Collection
378:978-0-915525-11-9
251:(GĂ©rĂ´me painting)
236:Esclaves Ă vendre
212:Esclaves Ă vendre
200:Esclaves Ă vendre
103:Gustave Boulanger
90:
89:
51:Gustave Boulanger
16:(Redirected from
437:
329:
326:
320:
317:
311:
308:
302:
299:
293:
290:
284:
281:
275:
272:
249:The Slave Market
232:The Slave Market
208:The Slave Market
178:history painting
127:Jean-LĂ©on GĂ©rĂ´me
119:The Slave Market
115:Vente d’esclaves
94:The Slave Market
42:
33:The Slave Market
30:
21:
445:
444:
440:
439:
438:
436:
435:
434:
395:
394:
338:
333:
332:
327:
323:
318:
314:
309:
305:
300:
296:
291:
287:
282:
278:
273:
269:
264:
244:
192:
189:Slaves for sale
135:
28:
23:
22:
15:
12:
11:
5:
443:
441:
433:
432:
427:
422:
417:
415:Slavery in art
412:
407:
405:1882 paintings
397:
396:
393:
392:
381:
366:
357:
348:
337:
334:
331:
330:
321:
312:
303:
294:
285:
276:
266:
265:
263:
260:
259:
258:
253:
243:
240:
191:
186:
134:
131:
88:
87:
84:
80:
79:
76:
72:
71:
66:
62:
61:
58:
54:
53:
48:
44:
43:
35:
34:
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
442:
431:
428:
426:
423:
421:
418:
416:
413:
411:
408:
406:
403:
402:
400:
390:
386:
382:
379:
375:
371:
367:
364:
363:
358:
355:
354:
349:
346:
345:
340:
339:
335:
325:
322:
316:
313:
307:
304:
298:
295:
289:
286:
280:
277:
271:
268:
261:
257:
254:
252:
250:
246:
245:
241:
239:
237:
233:
228:
226:
219:
217:
213:
209:
201:
196:
190:
187:
185:
183:
179:
175:
172:
167:
165:
160:
156:
152:
148:
144:
140:
139:Ancient Roman
132:
130:
128:
124:
120:
116:
112:
108:
104:
100:
96:
95:
85:
81:
77:
73:
70:
69:Oil on canvas
67:
63:
59:
55:
52:
49:
45:
41:
36:
31:
19:
388:
369:
361:
352:
343:
324:
315:
306:
297:
288:
279:
270:
248:
238:is unknown.
235:
231:
230:
224:
221:
211:
207:
205:
199:
188:
174:academic art
168:
163:
136:
118:
114:
110:
93:
92:
91:
210:, entitled
133:Description
107:Orientalist
99:Paris Salon
420:Erotic art
399:Categories
262:References
155:pubic hair
75:Dimensions
147:loincloth
425:Nude art
385:"Servus"
242:See also
83:Location
336:Sources
151:topless
376:
143:slaves
65:Medium
47:Artist
182:Paris
171:Salon
374:ISBN
159:nude
60:1886
57:Year
387:in
401::
129:.
380:.
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
