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![]() With the open portfolio, pictures-within-the-picture, and mirror (reflecting a mundane coal stove), this work of 1888 presents an elaborate play on the relationship between art and reality. ![]() Although the painter in the picture is a woman, the setting is thought to be Stevens’s own studio, which was admired for its stylish arrangement of his collections of exotic and luxurious objects. On the easel is Stevens’s Salomé (1888 Musées Royaux des Beaux-Arts de Belgique, Brussels), a freely interpreted version of the painting by Henri Regnault that was the sensation of the 1870 Salon (The Met, 16.95). An artist and her model take a break from a painting session to welcome a visitor to the studio-another woman, dressed in street clothes. ![]()
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