Welsh-American painter Sylvia Sleigh included her husband Lawrence Alloway and several other art critics in her gender-reversed reimagining of this painting. In the background of this painting, the head of a dark-skinned woman is separated by smoke from the rest of her body, and the Chinese vase in the niche reflects the exterior of the room. This painting bears the ironic inscription "AETATIS LXX
Welsh-American painter Sylvia Sleigh included her husband Lawrence Alloway and several other art critics in her gender-reversed reimagining of this painting. In the background of this painting, the head of a dark-skinned woman is separated by smoke from the rest of her body, and the Chinese vase in the niche reflects the exterior of the room. This painting bears the ironic inscription "AETATIS LXXXII," indicating that the artist painted it "at age 82." After Napoleon III returned this painting, its artist changed it from its original rectangular form into a (*) tondo. The most prominent woman in this painting has her back to the viewer, and plays a mandolin. A woman at the bottom-right corner of this painting pinches the nipple of another woman, next to a bored-looking subject lounging on a blue pillow. For 10 points, name this erotic painting in which twenty-four nude women relax in a Middle Eastern-facility, an Orientalist canvas by Ingres.
Welsh-American painter Sylvia Sleigh included her husband Lawrence Alloway and several other art critics in her gender-reversed reimagining of this painting.