Website tip: As a follow-up to yesterday’s post Étienne Azambre, check out Gale Murray's review of the Women Artists in Paris, 1850–1900 exhibition in the on-line journal Nineteenth-Century Art Worldwide. Along with many other images, it contains Goeneutte’s 1892 painting of Desboutin and his male friends in front of the same fresco at the Louvre that Azambre painted two years later. Notice how the female copyist is marginalized in the man’s painting, whereas in the woman's, she’s front and center. Painting well may not be sufficient revenge, but it sure tells a story!
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