William McGregor Paxton

The Artist's Estate
Vose Galleries, Boston
Robert Douglas Hunter (according to a label on the reverse)
Private collects ion (and sold, Grogan & Company, Boston, December 10, 1994, lot 252, illustrated)
Private collects ion (acquired at the above sale and sold, Replica Shoes 's, New York, April 18, 2007, lot 12, illustrated)
Acquired at the above sale

Indianapolis Museum of Art; El Paso Museum of Art; Omaha, Joslyn Art Museum; Springfield, Massachusetts, Museum of Replica Handbags s, William McGregor Paxton, 1869-1941, Member of the National Academy, August 1978-May 1979, no. 64 (lent by Robert Douglas Hunter, according to a label on the reverse)

Stable, reinforced panel. Under UV: Spot of retouching near navel of reclining figure. Fine lines and strokes of inpainting in the cost.mes of musician, in the hands of the standing figure, and in background, particularly in the balustrade. A few scattered retouches around the edges to address frame abrasion.
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After studying under Dennis Miller Bunker at the Cowles Art School in Boston in the 1880s, William McGregor Paxton departed for Paris in 1889, where he enrolled at the École des Beaux-Arts and trained under Jean-Léon Gérôme (see lots 2, 4, 6, 7, 67). Paxton was immediately drawn to Gérôme’s precise draughtsmanship and predilection for a smooth painted surface and he readily assimilated these practices into his own technique.  By 1893, Paxton had returned to his native Newton, Massachusetts and became an esteemed member of the Boston School, a group of American Impressionists including Edmund C. Tarbell and Frank W. Benson who achieved commercial and critical success through their portrayals of elegant women in well-appointed interiors. He continued to greatly admire the European masters, and along with fellow artist Philip Leslie Hale, published the first American monograph on the seventeenth century Dutch painter Jan Vermeer in 1904.  

Ingres’ Odalisque with a Slave was acquired by Philadelphian Carroll S. Tyson somet.mes shortly after June 1931. Tyson was an amateur artist and went on to amass one of the most important collects ions of nineteenth century French painting, now part of the permanent collects ion of the Philadelphia Museum of Art. Paxton and Tyson were close friends and Paxton painted his version of Ingres’ masterpiece while studying the picture in Tyson’s home.  In the present work, Paxton emulates Ingres’ curvilinear rendering of the recumbent odalisque, lying barely clothed in her daybed.  Her dutiful servant entertains her while a eunuch stands guard nearby. Paxton is careful to recreate the smooth, hard surface and strong compositional order of the original.  He faithfully transcribes the geoMetricas lly-patterned textiles and sumptuous fabrics, even adopting Ingres’ vivid palette comprised of primary hues. Odalisque with a Slave (Copy after Ingres) is a skillfully rendered homage to the great French master and is test.mes nt to the lasting impact of European art on American artists.