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Lot Essay
Galerie Brame & Lorenceau have confirmed the authenticity of this painting.
Raffaëlli's art defies categorization--one could call him a Realist or a Naturalist just as easily as one could label him an Impressionist. He was an Impressionist by virtue of his association with the group, not necessarily by his style. Raffaëlli had been successful in the Paris Salon system, especially with his 1877 entry depicting a Breton family; however, at the insistence of his good friend, Edgar Degas, he decided to show with the Impressionist artists in their group exhibitions in 1880 and 1881. He was represented by forty-one works in 1880 and thirty-three in 1881.
After spending a large part of the 1870s living in the Paris suburbs and paintings realist interpretations of the inhabitants, Raffaëlli returned to Paris in the early 1890s, and focused on painting the city's most well-known monuments and boulevards.
Raffaëlli's art defies categorization--one could call him a Realist or a Naturalist just as easily as one could label him an Impressionist. He was an Impressionist by virtue of his association with the group, not necessarily by his style. Raffaëlli had been successful in the Paris Salon system, especially with his 1877 entry depicting a Breton family; however, at the insistence of his good friend, Edgar Degas, he decided to show with the Impressionist artists in their group exhibitions in 1880 and 1881. He was represented by forty-one works in 1880 and thirty-three in 1881.
After spending a large part of the 1870s living in the Paris suburbs and paintings realist interpretations of the inhabitants, Raffaëlli returned to Paris in the early 1890s, and focused on painting the city's most well-known monuments and boulevards.