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Kresko View object. A young girl in an armchair sits captivated by a book. Her luminous skin, blue dress, and vermilion-red slippers contrast with the mottled curtain behind her and an otherwise dusky interior. Balthus built his reputation by painting intimate scenes, often representing adolescent girls. Here he paints Sylvia Colle, the daughter of an art dealer. Twelve spokes radiate outward from the center of this stone carving and end in sprouting leaf patterns.
This is a boss, a decorative element placed at the intersection of the ribs of a vaulted ceiling. These architectural sculptures were often intricately carved and display a diverse range of imagery, from foliage—as seen here—to heraldry.
The delicate, open pattern of this boss would appear to grow from the ceiling of the church it adorned, seemingly transforming from stone into vegetation. Wright Prescott Edgerton in memory of Dr. Helmuth by exchange Identifiable details mark this landscape—cypress trees laden with Spanish moss, swamp goldenrod, palmetto, cattail rushes, yellow pond lilies, and trumpet creeper.
The scene, however, is not historical but rather literary. The poem follows an engaged couple who become separated during the British expulsion of the French from Acadie Nova Scotia to Louisiana in In the center of the landscape, Evangeline rests from her desperate search for Gabriel. Tragically, she finds him only many years later, when he is ill from an epidemic and dies in her arms. These sketches became inspiration for later paintings, like this one, created in St.
