Top 100 - The 100 paintings dedicated to music
The 100 paintings dedicated to music
From Vermeer, Caravaggio and Rembrandt to Degas, Manet, Renoir, Matisse, Klimt and Kandinsky: a hundred paintings to see sound, listening and rhythm
This ranking brings together one hundred paintings devoted to music by 40 artists from European and American traditions.
One hundred paintings to see the music
When sound becomes gesture, space and color
The painting produces no sound, but it can show everything that makes it possible: a hand on a keyboard, a hanging bow, an open mouth, a shared score, an attentive audience or a body carried away by the dance. The musical painting therefore works with the moment, waiting and memory.
Painting does not make any notes heard: it makes visible the listening, rhythm, waiting and movement which precede or prolong the sound.Switch to images
Classification in images
Vermeer, Caravaggio, Renoir, Degas, Manet, Matisse, Rembrandt and Klimt open the route with the most recognized musical images.
#1
The Music Lesson
In rank 1, "The Music Lesson" by Johannes Vermeer belongs to the chapter devoted to the twenty icons of painted music. Music really controls the composition: instrument, performer, song, concert, lesson, repetition or dance determines the action and does not remain a decorative detail. The gaze must in particular follow the way in which the work has become a landmark in the history of the painting and musical representation. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification links religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, allegories and modern experiments to show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
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#2
The Musicians
In rank 2, "The Musicians" by Caravaggio (Michelangelo Merisi) belongs to the chapter devoted to the twenty icons of painted music. Music really controls the composition: instrument, performer, song, concert, lesson, repetition or dance determines the action and does not remain a decorative detail. The gaze must in particular follow the way in which the work has become a landmark the history of painting and musical representation. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification links religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, allegories and modern experiments to show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
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#3
Galette mill ball
In row 3, "Bal du moulin de la Galette" by Pierre-Auguste Renoir belongs to the chapter devoted to the twenty icons of painted music. Music really controls the composition: instrument, performer, song, concert, lesson, repetition or dance determines the action and does not remain a decorative detail. The gaze must in particular follow the way in which the work has become a landmark the history of painting and musical representation. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification links religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, allegories and modern experiments to show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
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#4
The Dance Class
In rank 4, "The Dance Class" by Edgar Degas belongs to the chapter devoted to the twenty icons of painted music. The music really controls the composition: instrument, performer, song, concert, lesson, rehearsal or dance determines the action and does not remain a decorative detail. The gaze must in particular follow the way in which the work has become a landmark in the history of the painting and musical representation. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification links religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, allegories and modern experiments to show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
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#5
Music at the Tuileries
In rank 5, "La Musique aux Tuileries" by Édouard Manet belongs to the chapter devoted to the twenty icons of painted music. Music really controls the composition: instrument, performer, song, concert, lesson, repetition or dance determines the action and does not remain a decorative detail. The gaze must in particular follow the way in which the work has become a landmark in the history of painting and musical representation. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification links religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, allegories and modern experiments to show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
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#6
The dance
In row 6, "La Danse" by Henri Matisse belongs to the chapter devoted to the twenty icons of painted music. Music really controls the composition: instrument, performer, song, concert, lesson, repetition or dance determines the action and does not remain a decorative detail. The gaze must in particular follow the way in which the work has become a landmark in the history of painting and musical representation. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification connects religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, allegories and modern experiments to show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
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#7
The concert
In row 7, "The Concert" by Johannes Vermeer belongs to the chapter devoted to the twenty icons of painted music. Music really controls the composition: instrument, performer, song, concert, lesson, repetition or dance determines the action and does not remain a decorative detail. The gaze must in particular follow the way in which the work has become a landmark in the history of painting and musical representation. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification links religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, allegories and modern experiments to show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
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#8
Young girls at the piano
In row 8, "Young girls at the piano" by Pierre-Auguste Renoir belongs to the chapter devoted to the twenty icons of painted music. Music really controls the composition: instrument, performer, song, concert, lesson, rehearsal or dance determines the action and does not remain a decorative detail. The gaze must in particular follow the way in which the work has become a landmark the history of painting and musical representation. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification links religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, allegories and modern experiments to show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
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#9
Lute player
In rank 9, "Lute Player" by Caravaggio belongs to the chapter devoted to the twenty icons of painted music. Music really controls the composition: instrument, performer, song, concert, lesson, repetition or dance determines the action and does not remain a decorative detail. The gaze must in particular follow the way in which the work has become a landmark in the history of painting and musical representation. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification links religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, allegories and modern experiments to show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
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#10
Musicians in the orchestra
In rank 10, "Musicians in the Orchestra" by Edgar Degas belongs to the chapter devoted to the twenty icons of painted music. The music really controls the composition: instrument, performer, song, concert, lesson, rehearsal or dance determines the action and does not remain a decorative detail. The gaze must in particular follow the way in which the work has become a landmark in the history of the painting and musical representation. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification links religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, allegories and modern experiments to show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
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#11
The Spanish Singer
In rank 11, "The Spanish Singer" by Édouard Manet belongs to the chapter devoted to the twenty icons of painted music. The music really controls the composition: instrument, performer, song, concert, lesson, repetition or dance determines the action and does not remain a decorative detail. The gaze must in particular follow the way in which the work has become a landmark in the history of the painting and musical representation. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification links religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, allegories and modern experiments to show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
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#12
The Woman with the Lute
In row 12, "The Woman with the Lute" by Johannes Vermeer belongs to the chapter devoted to the twenty icons of painted music. The music really controls the composition: instrument, performer, song, concert, lesson, repetition or dance determines the action and does not remain a decorative detail. The gaze must in particular follow the way in which the work has become a landmark in the history of the painting and musical representation. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification links religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, allegories and modern experiments to show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
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#13
David playing the harp in front of Saul
In row 13, "David playing the harp before Saul" by Rembrandt belongs to the chapter devoted to the twenty icons of painted music. The music really controls the composition: instrument, performer, song, concert, lesson, repetition or dance determines the action and does not remain a decorative detail. The gaze must in particular follow the way in which the work has become a landmark the history of painting and musical representation. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification links religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, allegories and modern experiments to show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
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#14
Flute concert by Frederick the Great in Sanssouci
In row 14, "Flute concert from Frederick the Great to Sanssouci" by Adolph von Menzel belongs to the chapter devoted to the twenty icons of painted music. Music really controls the composition: instrument, performer, song, concert, lesson, repetition or dance determines the action and does not remain a decorative detail. The gaze must in particular follow the way in which the work is become a landmark in the history of painting and musical representation. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification links religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, allegories and modern experiments to show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
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#15
Self-portrait with Death playing the violin
In row 15, "Self-portrait with Death playing the violin" by Arnold Böcklin belongs to the chapter devoted to the twenty icons of painted music. Music really controls the composition: instrument, performer, song, concert, lesson, repetition or dance determines the action and does not remain a decorative detail. The gaze must in particular follow the way in which the work has become one landmark in the history of painting and musical representation. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification links religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, allegories and experiments modern to show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
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#16
Schubert on piano I
In row 16, "Schubert on piano I" by Gustav Klimt belongs to the chapter devoted to the twenty icons of painted music. Music really controls the composition: instrument, performer, song, concert, lesson, repetition or dance determines the action and does not remain a decorative detail. The gaze must in particular follow the way in which the work has become a landmark in the history of the painting and musical representation. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification links religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, allegories and modern experiments to show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
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#17
Around the piano
In row 17, "Around the piano" by Henri Fantin-Latour belongs to the chapter devoted to the twenty icons of painted music. Music really controls the composition: instrument, performer, song, concert, lesson, repetition or dance determines the action and does not remain a decorative detail. The gaze must in particular follow the way in which the work has become a landmark in the history of the painting and musical representation. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification links religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, allegories and modern experiments to show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
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#18
Degas' father listening to Lorenzo Pagans play guitar
In row 18, "Degas' father listening to Lorenzo Pagans play guitar" by Edgar Degas belongs to the chapter devoted to the twenty icons of painted music. The music really controls the composition: instrument, performer, song, concert, lesson, repetition or dance determines the action and does not remain a decorative detail. The gaze must in particular follow the way in which the work is become a landmark in the history of painting and musical representation. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification links religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, allegories and modern experiments to show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
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#19
Dance at the Moulin Rouge
In row 19, "La Danse au Moulin-Rouge" by Henri de Toulouse-Lautrec belongs to the chapter devoted to the twenty icons of painted music. Music really controls the composition: instrument, performer, song, concert, lesson, repetition or dance determines the action and does not remain a decorative detail. The gaze must in particular follow the way in which the work has become a landmark the history of painting and musical representation. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification links religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, allegories and modern experiments to show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
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#20
Music
In rank 20, "La Musique" by Henri Matisse belongs to the chapter devoted to the twenty icons of painted music. Music really controls the composition: instrument, performer, song, concert, lesson, repetition or dance determines the action and does not remain a decorative detail. The gaze must in particular follow the way in which the work has become a landmark in the history of painting and musical representation. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification connects religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, allegories and modern experiments to show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
View product →Harpsichord, piano, singing and chamber ensembles organize domestic space, learning and shared listening.
#21
A woman playing guitar
In row 21, "A Woman Playing the Guitar" by Johannes Vermeer belongs to the chapter devoted to concerts, lessons and interiors. Music really controls the composition: instrument, performer, song, concert, lesson, rehearsal or dance determines the action and does not remain a decorative detail. The gaze must in particular follow the relationship between listening, learning, space domestic, repetition and collective interpretation. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification links religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, allegories and modern experiments for show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
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#22
The Music Lesson interrupted
In row 22, "The Interrupted Music Lesson" by Johannes Vermeer belongs to the chapter devoted to concerts, lessons and interiors. Music really controls the composition: instrument, performer, song, concert, lesson, repetition or dance determines the action and does not remain a decorative detail. The gaze must in particular follow the relationship between listening, learning, space domestic, repetition and collective interpretation. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification links religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, allegories and modern experiments for show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
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#23
The Piano Lesson
In row 23, "The Piano Lesson" by Pierre-Auguste Renoir belongs to the chapter devoted to concerts, lessons and interiors. Music really controls the composition: instrument, performer, song, concert, lesson, rehearsal or dance determines the action and does not remain a decorative detail. The gaze must in particular follow the relationship between listening, learning, domestic space, repetition and collective interpretation. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification links religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, allegories and modern experiments to show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
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#24
The concert
In row 24, "The concert" by Pierre-Auguste Renoir belongs to the chapter devoted to concerts, lessons and interiors. Music really controls the composition: instrument, performer, song, concert, lesson, rehearsal or dance determines the action and does not remain a decorative detail. The gaze must in particular follow the relationship between listening, learning, domestic space, repetition and collective interpretation. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification connects religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, allegories and modern experiments to show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
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#25
The Serenade
In row 25, "La Sérénade" by Pierre-Auguste Renoir belongs to the chapter devoted to concerts, lessons and interiors. Music really controls the composition: instrument, performer, song, concert, lesson, rehearsal or dance determines the action and does not remain a decorative detail. The gaze must in particular follow the relationship between listening, learning, domestic space, repetition and collective interpretation. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification connects religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, allegories and modern experiments to show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
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#26
The music lesson
In row 26, "The music lesson" by Édouard Manet belongs to the chapter devoted to concerts, lessons and interiors. Music really controls the composition: instrument, performer, song, concert, lesson, rehearsal or dance determines the action and does not remain a decorative detail. The gaze must in particular follow the relationship between listening, learning, domestic space, repetition and collective interpretation. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification connects religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, allegories and modern experiments to show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
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#27
Madame Manet at the piano
In row 27, "Madame Manet on the piano" by Édouard Manet belongs to the chapter devoted to concerts, lessons and interiors. Music really controls the composition: instrument, performer, song, concert, lesson, repetition or dance determines the action and does not remain a decorative detail. The gaze must in particular follow the relationship between listening, learning, domestic space, collective repetition and interpretation. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification links religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, allegories and modern experiments to show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
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#28
At the Café, Café-concert
In row 28, "Au Café, Café-concert" by Édouard Manet belongs to the chapter devoted to concerts, lessons and interiors. Music really controls the composition: instrument, performer, song, concert, lesson, rehearsal or dance determines the action and does not remain a decorative detail. The gaze must in particular follow the relationship between listening, learning, domestic space, collective repetition and interpretation. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification links religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, allegories and modern experiments to show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
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#29
The Glove Singer
In row 29, "The Glove Singer" by Edgar Degas belongs to the chapter devoted to concerts, lessons and interiors. Music really controls the composition: instrument, performer, song, concert, lesson, rehearsal or dance determines the action and does not remain a decorative detail. The gaze must in particular follow the relationship between listening, learning, domestic space, repetition and collective interpretation. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification connects religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, allegories and modern experiments to show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
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#30
The repetition of singing
In row 30, "The Repetition of Singing" by Edgar Degas belongs to the chapter devoted to concerts, lessons and interiors. Music really controls the composition: instrument, performer, song, concert, lesson, rehearsal or dance determines the action and does not remain a decorative detail. The gaze must in particular follow the relationship between listening, learning, domestic space, repetition and collective interpretation. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification connects religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, allegories and modern experiments to show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
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#31
Miss Dihau on the piano
In row 31, "Mademoiselle Dihau on the piano" by Edgar Degas belongs to the chapter devoted to concerts, lessons and interiors. Music really controls the composition: instrument, performer, song, concert, lesson, rehearsal or dance determines the action and does not remain a decorative detail. The gaze must in particular follow the relationship between listening, learning, domestic space, collective repetition and interpretation. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification links religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, allegories and modern experiments to show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
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#32
The Cellist Pilet
In row 32, "The Cellist Pilet" by Edgar Degas belongs to the chapter devoted to concerts, lessons and interiors. Music really controls the composition: instrument, performer, song, concert, lesson, rehearsal or dance determines the action and does not remain a decorative detail. The gaze must in particular follow the relationship between listening, learning, domestic space, collective repetition and interpretation. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification links religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, allegories and modern experiments to show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
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#33
The harpsichord lesson
In row 33, "The Harpsichord Lesson" by Jan Steen belongs to the chapter devoted to concerts, lessons and interiors. Music really controls the composition: instrument, performer, song, concert, lesson, rehearsal or dance determines the action and does not remain a decorative detail. The gaze must in particular follow the relationship between listening, learning, domestic space, repetition and collective interpretation. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification connects religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, allegories and modern experiments to show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
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#34
The family concert
In row 34, "The Family Concert" by Jan Steen belongs to the chapter devoted to concerts, lessons and interiors. Music really controls the composition: instrument, performer, song, concert, lesson, rehearsal or dance determines the action and does not remain a decorative detail. The gaze must in particular follow the relationship between listening, learning, domestic space, repetition and collective interpretation. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification connects religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, allegories and modern experiments to show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
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#35
Concert
In row 35, "Concert" by Gerrit van Honthorst belongs to the chapter devoted to concerts, lessons and interiors. Music really controls the composition: instrument, performer, song, concert, lesson, rehearsal or dance determines the action and does not remain a decorative detail. The gaze must in particular follow the relationship between listening, learning, domestic space, repetition and collective interpretation. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification connects religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, allegories and modern experiments to show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
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#36
Musical group by candlelight
In row 36, "Musical group by candlelight" by Gerrit van Honthorst belongs to the chapter devoted to concerts, lessons and interiors. Music really controls the composition: instrument, performer, song, concert, lesson, rehearsal or dance determines the action and does not remain a decorative detail. The gaze must in particular follow the relationship between listening, learning, domestic space, repetition and collective interpretation. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification links religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, allegories and modern experiments to show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
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#37
The Guitar Player
In row 37, "The Guitar Player" by Gerrit van Honthorst belongs to the chapter devoted to concerts, lessons and interiors. Music really controls the composition: instrument, performer, song, concert, lesson, rehearsal or dance determines the action and does not remain a decorative detail. The gaze must in particular follow the relationship between listening, learning, domestic space, collective repetition and interpretation. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification links religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, allegories and modern experiments to show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
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#38
Virgin player and singer preparing a piece of music or Music lesson
In rank 38, "Virginal player and singer preparing a piece of music or Music lesson" by Gabriel Metsu belongs to the chapter devoted to concerts, lessons and interiors. Music really controls the composition: instrument, performer, song, concert, lesson, repetition or dance determines the action and does not remain a decorative detail. The gaze must in particular follow the relationship between listening, learning, domestic space, repetition and collective interpretation. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification links religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, modern allegories and experiments to show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
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#39
Concerto for cello and harpsichord
In row 39, "Concerto for cello and harpsichord" by Gerard ter Borch belongs to the chapter devoted to concerts, lessons and interiors. Music really controls the composition: instrument, performer, song, concert, lesson, rehearsal or dance determines the action and does not remain a decorative detail. The gaze must in particular follow the relationship between listening, learning, space domestic, repetition and collective interpretation. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification links religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, allegories and modern experiments for show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
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#40
Rehearsal of the Pasdeloup Orchestra at the Cirque d'Hiver
In row 40, "Rehearsal of the Pasdeloup Orchestra at the Cirque d'Hiver" by John Singer Sargent belongs to the chapter devoted to concerts, lessons and interiors. Music really controls the composition: instrument, performer, song, concert, lesson, rehearsal or dance determines the action and does not remain a decorative detail. The gaze must in particular follow the relationship between listening, learning, domestic space, repetition and collective interpretation. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification links religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, allegories and modern experiments to show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
View product →Luthists, violinists, guitarists and pianists give the musical gesture physical, psychological and social precision.
#41
Self-portrait as a lute player
In rank 41, "Self-portrait as a lute player" by Artemisia Gentileschi belongs to the chapter devoted to instruments and performers. The music really controls the composition: instrument, performer, song, concert, lesson, repetition or dance determines the action and does not remain a decorative detail. The gaze must in particular follow the musician's gesture, the construction of the instrument and the dialogue between posture, hand, gaze and imagined sound. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification links religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, allegories and modern experiments to show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
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#42
Saint Cecilia playing the lute
In row 42, "Saint Cecilia playing the lute" by Artemisia Gentileschi belongs to the chapter devoted to instruments and performers. The music really controls the composition: instrument, performer, song, concert, lesson, repetition or dance determines the action and does not remain a decorative detail. The gaze must in particular follow the musician's gesture, the construction of the instrument and the dialogue between posture, hand, gaze and imagined sound. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification links religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, allegories and modern experiments to show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
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#43
The Lute Player
In row 43, "The Lute Player" by Orazio Gentileschi belongs to the chapter devoted to instruments and performers. The music really controls the composition: instrument, performer, song, concert, lesson, repetition or dance determines the action and does not remain a decorative detail. The gaze must in particular follow the musician's gesture, the construction of the instrument and the dialogue between posture, hand, gaze and imagined sound. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification links religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, allegories and modern experiments for show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
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#44
Self-portrait with a harp
In row 44, "Self-portrait with a harp" by Rose Adélaïde Ducreux belongs to the chapter devoted to instruments and performers. The music really controls the composition: instrument, performer, song, concert, lesson, repetition or dance determines the action and does not remain a decorative detail. The gaze must in particular follow the musician's gesture, the construction of the instrument and the dialogue between posture, hand, gaze and imagined sound. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification links religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, allegories and modern experiments to show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
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#45
Two Boys playing and singing
In row 45, "Two Boys Playing and Singing" by Frans Hals belongs to the chapter devoted to instruments and performers. The music really controls the composition: instrument, performer, song, concert, lesson, repetition or dance determines the action and does not remain a decorative detail. The look must notably follow the musician's gesture, the construction of the instrument and the dialogue between posture, hand, gaze and imagined sound. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification links religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, allegories and modern experiments for show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
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#46
Lute boy
In row 46, "Boy on the Lute" by Frans Hals belongs to the chapter devoted to instruments and performers. The music really controls the composition: instrument, performer, song, concert, lesson, repetition or dance determines the action and does not remain a decorative detail. The gaze must in particular follow the musician's gesture, the construction of the instrument and the dialogue between posture, hand, gaze and imagined sound. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification links religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, allegories and modern experiments to show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
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#47
Young boy laughing with a flute
In row 47, "Young boy laughing with a flute" by Frans Hals belongs to the chapter devoted to instruments and performers. The music really controls the composition: instrument, performer, song, concert, lesson, repetition or dance determines the action and does not remain a decorative detail. The gaze must in particular follow the musician's gesture, the construction of the instrument and the dialogue between posture, hand, gaze and imagined sound. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification links religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, allegories and modern experiments for show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
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#48
The Jester with the lute
In row 48, "The Jester on the Lute" by Frans Hals belongs to the chapter devoted to instruments and performers. The music really controls the composition: instrument, performer, song, concert, lesson, repetition or dance determines the action and does not remain a decorative detail. The gaze must in particular follow the musician's gesture, the construction of the instrument and the dialogue between posture, hand, gaze and imagined sound. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification connects religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, allegories and modern experiments to show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
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#49
The violinist
In row 49, "The Violinist" by Frans Hals belongs to the chapter devoted to instruments and performers. The music really controls the composition: instrument, performer, song, concert, lesson, repetition or dance determines the action and does not remain a decorative detail. The gaze must in particular follow the musician's gesture, the construction of the instrument and the dialogue between posture, hand, gaze and imagined sound. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification connects religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, allegories and modern experiments to show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
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#50
The cellist
At rank 50, "The cellist" by Gustave Courbet belongs to the chapter devoted to instruments and performers. Music really controls the composition: instrument, performer, song, concert, lesson, repetition or dance determines the action and does not remain a decorative detail. The gaze must in particular follow the musician's gesture, the construction of the instrument and the dialogue between posture, hand, gaze and imagined sound. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification links religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, allegories and modern experiments to show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
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#51
The Violinist at the window
In row 51, "The Violinist at the Window" by Henri Matisse belongs to the chapter devoted to instruments and performers. The music really controls the composition: instrument, performer, song, concert, lesson, rehearsal or dance determines the action and does not remain a decorative detail. The gaze must in particular follow the musician's gesture, the construction of the instrument and the dialogue between posture, hand, gaze and imagined sound. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification links religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, allegories and modern experiments for show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
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#52
Interior on the violin
In row 52, "Interior on the violin" by Henri Matisse belongs to the chapter devoted to instruments and performers. The music really controls the composition: instrument, performer, song, concert, lesson, repetition or dance determines the action and does not remain a decorative detail. The gaze must in particular follow the musician's gesture, the construction of the instrument and the dialogue between posture, hand, gaze and imagined sound. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification links religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, allegories and modern experiments to show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
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#53
Woman with mandolin
In row 53, "Woman with a Mandolin" by Henri Matisse belongs to the chapter devoted to instruments and performers. The music really controls the composition: instrument, performer, song, concert, lesson, repetition or dance determines the action and does not remain a decorative detail. The gaze must notably follow the musician's gesture, the construction of the instrument and the dialogue between posture, hand, gaze and imagined sound. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification links religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, allegories and modern experiments to show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
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#54
The Lute
In row 54, "Le Luth" by Henri Matisse belongs to the chapter devoted to instruments and performers. Music really controls the composition: instrument, performer, song, concert, lesson, repetition or dance determines the action and does not remain a decorative detail. The gaze must in particular follow the musician's gesture, the construction of the instrument and the dialogue between posture, hand, look and imagined sound. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification connects religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, allegories and modern experiments to show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
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#55
Harlequin on guitar
At rank 55, "Harlequin on the guitar" by Juan Gris belongs to the chapter devoted to instruments and performers. The music really controls the composition: instrument, performer, song, concert, lesson, repetition or dance determines the action and does not remain a decorative detail. The gaze must notably follow the musician's gesture, the construction of the instrument and the dialogue between posture, hand, gaze and imagined sound. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification links religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, allegories and modern experiments to show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
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#56
Harlequin on the violin
In rank 56, "Harlequin on the violin" by Juan Gris belongs to the chapter devoted to instruments and performers. The music really controls the composition: instrument, performer, song, concert, lesson, repetition or dance determines the action and does not remain a decorative detail. The gaze must in particular follow the musician's gesture, the construction of the instrument and the dialogue between posture, hand, gaze and imagined sound. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification links religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, allegories and modern experiments to show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
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#57
Guitar and clarinet
In row 57, "Guitar and clarinet" by Juan Gris belongs to the chapter devoted to instruments and performers. The music really controls the composition: instrument, performer, song, concert, lesson, repetition or dance determines the action and does not remain a decorative detail. The gaze must in particular follow the musician's gesture, the construction of the instrument and the dialogue between posture, hand, gaze and imagined sound. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification links religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, allegories and modern experiments to show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
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#58
Lady on guitar
In row 58, "Lady on the Guitar" by Lyubov Popova belongs to the chapter devoted to instruments and performers. The music really controls the composition: instrument, performer, song, concert, lesson, repetition or dance determines the action and does not remain a decorative detail. The gaze must in particular follow the musician's gesture, the construction of the instrument and the dialogue between posture, hand, gaze and imagined sound. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification links religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, allegories and modern experiments to show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
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#59
Lute player
In row 59, "Lute Player" by August Macke belongs to the chapter devoted to instruments and performers. The music really controls the composition: instrument, performer, song, concert, lesson, repetition or dance determines the action and does not remain a decorative detail. The gaze must in particular follow the musician's gesture, the construction of the instrument and the dialogue between posture, hand, gaze and imagined sound. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification connects religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, allegories and modern experiments to show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
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#60
Arab musician
At rank 60, "Arab Musician" by Odilon Redon belongs to the chapter devoted to instruments and performers. The music really controls the composition: instrument, performer, song, concert, lesson, repetition or dance determines the action and does not remain a decorative detail. The gaze must in particular follow the musician's gesture, the construction of the instrument and the dialogue between posture, hand, gaze and imagined sound. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification connects religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, allegories and modern experiments to show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
View product →Renoir, Manet, Degas, Toulouse-Lautrec, Sargent and Cassatt follow the body in movement between ball, ballet, orchestra and modern show.
#61
Dance in Bougival
In row 61, "La Danse à Bougival" by Pierre-Auguste Renoir belongs to the chapter devoted to dance, the stage and the café-concert. Music really controls the composition: instrument, performer, song, concert, lesson, rehearsal or dance determines the action and does not remain a decorative detail. The gaze must in particular follow the circulation between orchestra, moving body, audience, behind the scenes and urban culture of the show. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification links religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, allegories and modern experiments to show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
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#62
Country dancing
In row 62, "Dance in the Country" by Pierre-Auguste Renoir belongs to the chapter devoted to dance, the stage and the café-concert. Music really controls the composition: instrument, performer, song, concert, lesson, rehearsal or dance determines the action and does not remain a decorative detail. The gaze must in particular follow the circulation between orchestra, moving body, audience, behind the scenes and urban culture of the show. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification links religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, allegories and modern experiments to show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
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#63
Dancing in the city
In row 63, "Dance in the city" by Pierre-Auguste Renoir belongs to the chapter devoted to dance, the stage and the café-concert. Music really controls the composition: instrument, performer, song, concert, lesson, rehearsal or dance determines the action and does not remain a decorative detail. The gaze must in particular follow the circulation between orchestra, moving body, audience, behind the scenes and urban culture of the show. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification links religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, allegories and modern experiments to show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
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#64
Masked ball at the Opera
In row 64, "Masked Ball at the Opera" by Édouard Manet belongs to the chapter devoted to dance, stage and café-concert. Music really controls the composition: instrument, performer, song, concert, lesson, rehearsal or dance determines the action and does not remain a decorative detail. The gaze must in particular follow the circulation between orchestra, moving body, audience, behind the scenes and urban culture of the show. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification links religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, allegories and modern experiments to show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
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#65
Spanish ballet
At rank 65, "Spanish Ballet" by Édouard Manet belongs to the chapter devoted to dance, stage and café-concert. Music really controls the composition: instrument, performer, song, concert, lesson, rehearsal or dance determines the action and does not remain a decorative detail. The gaze must in particular follow the circulation between orchestra, moving body, audience, backstage and urban culture of spectacle. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification connects religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, allegories and modern experiments to show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
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#66
Café-concert singer
In row 66, "Café-concert singer" by Édouard Manet belongs to the chapter devoted to dance, stage and café-concert. Music really controls the composition: instrument, performer, song, concert, lesson, rehearsal or dance determines the action and does not remain a decorative detail. The gaze must in particular follow the circulation between orchestra, moving body, audience, behind the scenes and urban culture of the show. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification links religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, allegories and modern experiments to show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
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#67
Café-concert corner
In row 67, "Coffee-concert corner" by Édouard Manet belongs to the chapter devoted to dance, stage and café-concert. Music really controls the composition: instrument, performer, song, concert, lesson, rehearsal or dance determines the action and does not remain a decorative detail. The gaze must in particular follow the circulation between orchestra, moving body, audience, behind the scenes and urban culture of the show. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification links religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, allegories and modern experiments to show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
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#68
The Street Singer
In row 68, "La Chanteuse de rue" by Édouard Manet belongs to the chapter devoted to dance, the stage and the café-concert. Music really controls the composition: instrument, performer, song, concert, lesson, rehearsal or dance determines the action and does not remain a decorative detail. The gaze must in particular follow the circulation between orchestra, moving body, audience, behind the scenes and urban culture of the show. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification links religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, allegories and modern experiments to show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
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#69
The Ballet of "Robert the Devil" (1871)
In row 69, "The Ballet of "Robert the Devil" (1871)" by Edgar Degas belongs to the chapter devoted to dance, stage and café-concert. Music really controls the composition: instrument, performer, song, concert, lesson, rehearsal or dance determines the action and does not remain a decorative detail. The gaze must in particular follow the circulation between orchestra, body movement, audience, behind the scenes and urban culture of the show. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification links religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, allegories and experiments modern to show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
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#70
The Café-concert for ambassadors
At rank 70, "The Café-concert for ambassadors" by Edgar Degas belongs to the chapter devoted to dance, stage and café-concert. Music really controls the composition: instrument, performer, song, concert, lesson, rehearsal or dance determines the action and does not remain a decorative detail. The gaze must in particular follow the circulation between orchestra, body in movement, audience, behind the scenes and urban culture of the show. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification links religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, allegories and modern experiments for show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
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#71
Coffee singer
At rank 71, "Café Singer" by Edgar Degas belongs to the chapter devoted to dance, stage and café-concert. Music really controls the composition: instrument, performer, song, concert, lesson, rehearsal or dance determines the action and does not remain a decorative detail. The gaze must in particular follow the circulation between orchestra, moving body, audience, backstage and urban culture of spectacle. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification connects religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, allegories and modern experiments to show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
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#72
The Star /Dancer on stage
At row 72, "The Star/Dancer on Stage" by Edgar Degas belongs to the chapter devoted to dance, stage and café-concert. Music really controls the composition: instrument, performer, song, concert, lesson, rehearsal or dance determines the action and does not remain a decorative detail. The gaze must in particular follow the circulation between orchestra, moving body, audience, behind the scenes and urban culture of the show. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification links religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, allegories and modern experiments to show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
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#73
Rehearsal of a ballet on stage
In row 73, "Rehearsal of a ballet on stage" by Edgar Degas belongs to the chapter devoted to dance, stage and café-concert. Music really controls the composition: instrument, performer, song, concert, lesson, rehearsal or dance determines the action and does not remain a decorative detail. The gaze must in particular follow the circulation between orchestra, body in movement, audience, behind the scenes and urban culture of the show. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification links religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, allegories and modern experiments for show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
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#74
Ballet scene
In row 74, "Ballet Scene" by Henri de Toulouse-Lautrec belongs to the chapter devoted to dance, stage and café-concert. Music really controls the composition: instrument, performer, song, concert, lesson, rehearsal or dance determines the action and does not remain a decorative detail. The gaze must in particular follow the circulation between orchestra, moving body, audience, behind the scenes and urban culture of the show. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification links religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, allegories and modern experiments to show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
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#75
Miss Dihau on the piano
At row 75, "Mademoiselle Dihau on the piano" by Henri de Toulouse-Lautrec belongs to the chapter devoted to dance, stage and café-concert. Music really controls the composition: instrument, performer, song, concert, lesson, rehearsal or dance determines the action and does not remain a decorative detail. The gaze must in particular follow the circulation between orchestra, body movement, audience, behind the scenes and urban culture of the show. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification links religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, allegories and experiments modern to show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
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#76
Madame Misia Natanson on piano
In row 76, "Madame Misia Natanson on the piano" by Henri de Toulouse-Lautrec belongs to the chapter devoted to dance, the stage and the café-concert. Music really controls the composition: instrument, performer, song, concert, lesson, rehearsal or dance determines the action and does not remain a decorative detail. The gaze must in particular follow the circulation between orchestra, body movement, audience, behind the scenes and urban culture of the show. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification links religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, allegories and experiments modern to show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
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#77
Rest during the masked ball
In row 77, "Rest during the masked ball" by Henri de Toulouse-Lautrec belongs to the chapter devoted to dance, the stage and the café-concert. The music really controls the composition: instrument, performer, song, concert, lesson, rehearsal or dance determines the action and does not remain a decorative detail. The gaze must in particular follow the circulation between orchestra, body movement, audience, behind the scenes and urban culture of the show. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification links religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, allegories and experiments modern to show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
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#78
The Carmencita
In row 78, "La Carmencita" by John Singer Sargent belongs to the chapter devoted to dance, stage and café-concert. Music really controls the composition: instrument, performer, song, concert, lesson, rehearsal or dance determines the action and does not remain a decorative detail. The gaze must in particular follow the circulation between orchestra, moving body, audience, behind the scenes and urban culture of the show. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification links religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, allegories and modern experiments to show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
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#79
Spanish Dancer
At rank 79, "Spanish Dancer" by John Singer Sargent belongs to the chapter devoted to dance, stage and café-concert. Music really controls the composition: instrument, performer, song, concert, lesson, rehearsal or dance determines the action and does not remain a decorative detail. The gaze must in particular follow the circulation between orchestra, moving body, audience, behind the scenes and urban culture of the show. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification links religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, allegories and modern experiments to show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
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#80
Spanish dancer wearing a lace mantilla
At rank 80, "Spanish dancer wearing a lace mantilla" by Mary Cassatt belongs to the chapter devoted to dance, stage and café-concert. Music really controls the composition: instrument, performer, song, concert, lesson, rehearsal or dance determines the action and does not remain a decorative detail. The gaze must in particular follow the circulation between orchestra and body in motion, public, behind the scenes and urban culture of the show. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification links religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, allegories and experiments modern to show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
View product →From musical angels to cubists, music becomes a sacred attribute, scholarly harmony, fragmentation or architecture of color.
#81
Allegory of music
In row 81, "Allegory of Music" by Dosso Dossi belongs to the chapter devoted to allegories and modern rhythms. Music really controls the composition: instrument, performer, song, concert, lesson, repetition or dance determines the action and does not remain a decorative detail. The gaze must in particular follow the transformation of the music into a symbol, visual rhythm, cubist fragmentation or color architecture. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification links religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, allegories and modern experiments for show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
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#82
Apollo musician
At rank 82, "Apollo musician" by Dosso Dossi belongs to the chapter devoted to allegories and modern rhythms. Music really controls the composition: instrument, performer, song, concert, lesson, repetition or dance determines the action and does not remain a decorative detail. The gaze must in particular follow the transformation of the music into symbol, visual rhythm, fragmentation cubist or colored architecture. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification links religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, allegories and modern experiments to show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
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#83
Allegory of Music with Apollo and the concert of the Muses
In row 83, "Allegory of Music with Apollo and the concert of the Muses" by Peter Paul Rubens belongs to the chapter devoted to allegories and modern rhythms. Music really controls the composition: instrument, performer, song, concert, lesson, repetition or dance determines the action and does not remain a decorative detail. The gaze must in particular follow the transformation of music as a symbol, visual rhythm, cubist fragmentation or color architecture. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification links religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, allegories and modern experiments to show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
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#84
Musician angels
In rank 84, "Musician Angels" by Hans Memling belongs to the chapter devoted to allegories and modern rhythms. Music really controls the composition: instrument, performer, song, concert, lesson, repetition or dance determines the action and does not remain a decorative detail. The gaze must in particular follow the transformation of the music into symbol, visual rhythm, fragmentation cubist or colored architecture. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification links religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, allegories and modern experiments to show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
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#85
Musician angels
At rank 85, "Musician Angels" by Hubert van Eyck belongs to the chapter devoted to allegories and modern rhythms. Music really controls the composition: instrument, performer, song, concert, lesson, repetition or dance determines the action and does not remain a decorative detail. The gaze must in particular follow the transformation of the music into a symbol, visual rhythm, cubist fragmentation or color architecture. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification links religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, allegories and modern experiments for show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
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#86
Concert of Angels and Nativity
In row 86, "Concert of Angels and Nativity" by Matthias Grünewald belongs to the chapter devoted to allegories and modern rhythms. Music really controls the composition: instrument, performer, song, concert, lesson, repetition or dance determines the action and does not remain a decorative detail. The gaze must in particular follow the transformation of the music into symbol, rhythm visual, cubist fragmentation or color architecture. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification links religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, allegories and modern experiments to show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
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#87
Song of Love
In row 87, "Song of Love" by Edward Burne-Jones belongs to the chapter devoted to allegories and modern rhythms. Music really controls the composition: instrument, performer, song, concert, lesson, repetition or dance determines the action and does not remain a decorative detail. The gaze must in particular follow the transformation of the music into a symbol, visual rhythm, cubist fragmentation or color architecture. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification links religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, allegories and modern experiments for show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
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#88
The Love Song
In row 88, "The Love Song" by Sir Edward Burne-Jones belongs to the chapter devoted to allegories and modern rhythms. Music really controls the composition: instrument, performer, song, concert, lesson, repetition or dance determines the action and does not remain a decorative detail. The gaze must in particular follow the transformation of the music into a symbol, visual rhythm, cubist fragmentation or color architecture. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification links religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, allegories and modern experiments for show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
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#89
Song
In row 89, "Song" by Wassily Kandinsky belongs to the chapter devoted to allegories and modern rhythms. Music really controls the composition: instrument, performer, song, concert, lesson, repetition or dance determines the action and does not remain a decorative detail. The gaze must in particular follow the transformation of the music into symbol, visual rhythm, fragmentation cubist or colored architecture. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification links religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, allegories and modern experiments to show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
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#90
Cubo-futuristic composition with piano
In rank 90, "Cubo-futuristic composition with piano" by Kazimir Malevich belongs to the chapter devoted to allegories and modern rhythms. Music really controls the composition: instrument, performer, song, concert, lesson, repetition or dance determines the action and does not remain a decorative detail. The gaze must in particular follow the transformation of music into a symbol, visual rhythm, cubist fragmentation or color architecture. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification links religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, allegories and experiments modern to show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
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#91
Red and white harlequin on violin
In rank 91, "Red and White Harlequin on the Violin" by Raoul Dufy belongs to the chapter devoted to allegories and modern rhythms. Music really controls the composition: instrument, performer, song, concert, lesson, repetition or dance determines the action and does not remain a decorative detail. The gaze must in particular follow the transformation of the music into symbol, rhythm visual, cubist fragmentation or color architecture. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification links religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, allegories and modern experiments to show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
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#92
Harlequin holding a guitar
At rank 92, "Harlequin holding a guitar" by André Derain belongs to the chapter devoted to allegories and modern rhythms. Music really controls the composition: instrument, performer, song, concert, lesson, repetition or dance determines the action and does not remain a decorative detail. The gaze must in particular follow the transformation of the music into a symbol, visual rhythm, cubist fragmentation or color architecture. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification links religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, allegories and modern experiments for show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
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#93
Daytime music
In rank 93, "Day Music" by Paul Klee belongs to the chapter devoted to allegories and modern rhythms. Music really controls the composition: instrument, performer, song, concert, lesson, repetition or dance determines the action and does not remain a decorative detail. The gaze must in particular follow the transformation of the music into symbol, visual rhythm, fragmentation cubist or colored architecture. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification links religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, allegories and modern experiments to show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
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#94
Singer of the Comic Opera
In rank 94, "Singer of the Comic Opera" by Paul Klee belongs to the chapter devoted to allegories and modern rhythms. Music really controls the composition: instrument, performer, song, concert, lesson, repetition or dance determines the action and does not remain a decorative detail. The gaze must in particular follow the transformation of the music into a symbol, visual rhythm, cubist fragmentation or color architecture. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification links religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, allegories and modern experiments for show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
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#95
Great Hall of Singers
In row 95, "Grande Salle des Chanteurs" by Paul Klee belongs to the chapter devoted to allegories and modern rhythms. Music really controls the composition: instrument, performer, song, concert, lesson, repetition or dance determines the action and does not remain a decorative detail. The gaze must in particular follow the transformation of the music into a symbol, visual rhythm, cubist fragmentation or color architecture. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification links religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, allegories and modern experiments for show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
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#96
The music
In rank 96, "The Music" by Gustav Klimt belongs to the chapter devoted to allegories and modern rhythms. Music really controls the composition: instrument, performer, song, concert, lesson, repetition or dance determines the action and does not remain a decorative detail. The gaze must in particular follow the transformation of the music into symbol, visual rhythm, fragmentation cubist or colored architecture. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification links religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, allegories and modern experiments to show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
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#97
Schubert on piano II
In row 97, "Schubert on piano II" by Gustav Klimt belongs to the chapter devoted to allegories and modern rhythms. Music really controls the composition: instrument, performer, song, concert, lesson, repetition or dance determines the action and does not remain a decorative detail. The gaze must in particular follow the transformation of the music into a symbol, visual rhythm, cubist fragmentation or color architecture. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification links religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, allegories and modern experiments for show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
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#98
The Piano Lesson
In row 98, "The Piano Lesson" by Henri Matisse belongs to the chapter devoted to allegories and modern rhythms. Music really controls the composition: instrument, performer, song, concert, lesson, repetition or dance determines the action and does not remain a decorative detail. The gaze must in particular follow the transformation of the music into a symbol, visual rhythm, cubist fragmentation or color architecture. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification links religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, allegories and modern experiments for show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
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#99
The Music Lesson
In rank 99, "The Music Lesson" by Henri Matisse belongs to the chapter devoted to allegories and modern rhythms. Music really controls the composition: instrument, performer, song, concert, lesson, repetition or dance determines the action and does not remain a decorative detail. The gaze must in particular follow the transformation of the music into a symbol, visual rhythm, cubist fragmentation or color architecture. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification links religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, allegories and modern experiments for show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
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#100
Pianist and Ladies Players
At rank 100, "Pianist and Ladies Players" by Henri Matisse belongs to the chapter devoted to allegories and modern rhythms. Music really controls the composition: instrument, performer, song, concert, lesson, repetition or dance determines the action and does not remain a decorative detail. The gaze must in particular follow the transformation of the music into symbol, rhythm visual, cubist fragmentation or color architecture. The hands, postures, looks, arrangement of bodies and representation space allow us to imagine a sound that painting cannot materially produce. The classification links religious and secular scenes, domestic practices, public concerts, café-concerts, ballets, allegories and modern experiments to show how each era makes listening visible. Photographs, posters, stand-alone prints, sculptures, portraits without musical practice, false results, duplicates and Asian works were excluded.
View product →What the ranking reveals
One hundred paintings, three ways to make sound visible
Musical painting first shows gestures, then constructs a listening scene, then transforms rhythm into plastic organization. The instrument is therefore never a simple accessory.
The gesture makes you hear
Hand position, body tilt and gaze tension suggest attack, tempo, breathing and intensity.
Space organizes listening
A harpsichord in a room, an orchestra in a pit or a singer facing the audience establish sound as well as visual distances.
Rhythm survives without an instrument
In Kandinsky, Klee, Malevich or Matisse, repetitions, contrasts and intervals make the composition itself a musical experience.
A Western history of painted music
Five benchmarks to follow the transition from sound to image
In Van Eyck and Memling, instruments, voices and polyphony inscribe music in the spiritual architecture of the image.
His young musicians tune their instruments, read a score and transform the allegorical scene into immediate presence.
Lesson, concert, virginal, lute and guitar connect figures, furniture, light and silence in a room set like a score.
Manet, Degas and Renoir move the subject towards the orchestra, the ball, the Opera, the café-concert and bourgeois learning.
Matisse, Kandinsky, Klee, Malevich and the Cubists no longer only illustrate music: they transpose its intervals and energy.
Music painted in depth
How can painting make music visible?
The painting produces no sound, but it can show everything that makes it possible: a hand on a keyboard, a hanging bow, an open mouth, a shared score, an attentive audience or a body carried away by the dance. The musical painting therefore works with the moment, waiting and memory.
In the altarpieces of Van Eyck and Memling, musical angels give the celestial order an instrumental form. During the Renaissance, the allegories of Dosso Dossi and Rubens combined harmony, knowledge, love and cosmology. Music is at the same time attribute, discipline and promise of agreement between figures.
Caravaggio and Caravaggio painters bring musicians, singers and spectators closer to the foreground. Tuning, reading and sharing a melody become concrete actions. In Rembrandt, David playing in front of Saul transforms music into a psychological force capable of calming or revealing conflict.
Vermeer makes the lesson and the concert a silent architecture. Instruments, tiles, furniture, light and distance between figures function like the measures of a score. Steen, Metsu and Ter Borch show the same domestic world from a more narrative, moral or sensual angle.
In the 19th century, Manet, Degas, Renoir, Toulouse-Lautrec and Sargent moved music towards modern life: orchestra, Opera, ball, café-concert, rehearsal and bourgeois learning. Matisse, Kandinsky, Klee, Malevich, Gris, Dufy and Popova then extended the subject by transforming instrument, dance and rhythm into autonomous plastic structures.
Four reading keys
How to look at a board dedicated to music
Gesture, relationship, space and rhythm make it possible to distinguish a real musical scene from a simply decorative instrument.
Follow the hands
Fingers, bow, breath and posture indicate whether the artist represents a real practice, tuning, repetition or pose.
Identify who is listening
Musicians, students, partners and audiences form a chain of attention that explains the social or intimate meaning of the scene.
Spot the soundstage
Living room, church, pit, café, street or workshop determine the imagined volume of sound and the distance between figures.
Compare repetitions and intervals
The verticals of a keyboard, the diagonals of a bow and the groups of dancers transform musical duration into visual structure.
Paints, products and references
Continue in the Famous Paintings collection
Frequently asked questions
Music painted without pretense
The essential benchmarks for understanding selection, its western perimeter and links to reproductions.
How were the hundred tables classified?
The first twenty places bring together the most recognized musical images. The following four chapters organize the route by situation: concerts and lessons, performers and instruments, dance and show, then allegories and modern rhythms. Rank guides reading without claiming to measure an absolute value.
What is a painting truly dedicated to music?
Music must control the action or structure: instrument played, singing, concert, lesson, rehearsal, dance, ballet or explicit visual transposition of rhythm. A secondary instrument or the simple portrait of a musician is not enough.
Why do Vermeer, Degas and Manet play an important role?
Vermeer constructs listening scenes of exceptional precision; Degas studies orchestra, rehearsal, singing and ballet; Manet observes the new forms of spectacle and musical sociability of modern Parisian life.
Does the classification only contain paintings?
Yes. The products selected belong to the boutique's pictorial catalog. Photographs, posters, stand-alone prints, sculptures and objects were excluded.
Are still lifes with instruments included?
Only when the instrument or rhythmic construction clearly constitutes the subject, especially in Cubism. Decorative accessories without identifiable musical function have been ruled out.
Are there any Asian works?
No. The perimeter follows European and American traditions, in accordance with the Asian exclusion order.
Do the images exactly match the products?
Yes. Each button opens the sheet shown on the card.
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