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© TRACEY EMIN. All rights reserved, DACS 2013. Photo: KERRY RYAN.
Sidney Nolan, 'Ned Kelly' (detail), 1946. Enamel paint on composition board. 90.8 x 121.5 cm. National Gallery of Australia, Canberra. Gift of Sunday Reed, 1977.
Richard Rogers Partnership, Lloyd’s of London, 1978-86. © Richard Bryant / arcaidimages.com & Piano + Rogers, Centre Pompidou, Paris, 1971-77. © Francois Le Diascorn / Gamma-Rapho via Getty Images
José Chávez Morado, 'Carnaval en Huejotzingo (Carnival in Huejotzingo)' (detail), 1939. Oil on canvas, 71.1 x 96.5 cm. Collection of Phoenix Art Museum, Gift of Dr. & Mrs. Loyal Davis © DACS 2013.
12 April 2013
In the Reynolds Room, a John Madejski Fine Room
Edouard Manet, Victorine Meurent, c. 1862. Oil on canvas, 171.1 x 105.8 cm. Boston Museum of Fine Arts
Manet’s most famous courtesan, Olympia, fingers a floral shawl as she gazes boldly at the viewer of the painting. Professor Therese Dolan (Temple University) illustrates how Manet skillfully employs the shawl’s economic and social status to connote levels of class and power in articulating Olympia’s sexual identity.
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This event is supported by Friends of the RA
, as part of the Adult learning programme.
