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La femme au fauteuil (Misia et Thadée Natanson) by Édouard Vuillard, 1896
A supremely musical composition, more musical than any of Vuillard’s paintings of Misia actually playing the piano,’ Guy Cogeval has written. She appears to be slowly surrendering to an ecstatic happiness, the sparkling expression of what she hears in her inner ear. The picture brims with the echo of a vanished music, the memory of which continues to envelop her. It comes closer than ever here to what certain pieces by Debussy intimate: in essence sound, the purest sound, is the memory of…
