This HTML5 document contains 17 embedded RDF statements represented using HTML+Microdata notation.

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Namespace Prefixes

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Statements

Subject Item

n7:27403e77-62e2-538c-9254-401e96596ac4

rdf:type

rdf:Statement

rdf:predicate

ecrm:P65_shows_visual_item

rdf:object

n8:743

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n2:da1534e9-302c-3a17-ba3d-5e389c83b2fb

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n10:27403e77-62e2-538c-9254-401e96596ac4

silk:L18

0.75940001010894775391

Subject Item

n2:da1534e9-302c-3a17-ba3d-5e389c83b2fb

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ecrm:E22_Man-Made_Object

rdfs:label

1780

rdfs:comment

Vallayer-Coster joined the Académie Royale in 1770 as a painter of still life, the genre considered most suitable to women artists in eighteenth-century Europe and the lowest of the Academy’s hierarchy of genres. Vallayer-Coster enjoyed favorable critical opinion throughout her career, as well as the patronage of Queen Marie Antoinette (1755–1793) before the Revolution and Empress Josephine (1763–1814) after. This painting was probably among the four still lifes and two portraits that Vallayer-Coster showed at the Salon of 1781.

owl:sameAs

n5:437864

dc:identifier

07.225.504

ecrm:P3_has_note

Vallayer-Coster joined the Académie Royale in 1770 as a painter of still life, the genre considered most suitable to women artists in eighteenth-century Europe and the lowest of the Academy’s hierarchy of genres. Vallayer-Coster enjoyed favorable critical opinion throughout her career, as well as the patronage of Queen Marie Antoinette (1755–1793) before the Revolution and Empress Josephine (1763–1814) after. This painting was probably among the four still lifes and two portraits that Vallayer-Coster showed at the Salon of 1781.

ecrm:P43_has_dimension

n11:2 n11:1

ecrm:P65_shows_visual_item

n8:743

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n12:d73fdc3c-e7b4-3079-ae01-2762baf54d61

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1780