Copyright This work is in the public domain. Georges De Feure died in 1943; copyright lasts 70 years after the artist’s death, so it ended in 2013.
In context
Window — Georges De Feure
Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 75 at death.
Shaded: the lifetime of Georges De Feure (1868–1943) every dated painting, decade by decade
First works: up to 1895 Main working years: 1895–1903 Late works: from 1903
Those three bands split the works this catalogue has a date for into a first quarter, a middle half and a last quarter. They are not the artist’s complete output: a thin stretch may be a gap in the record rather than a quiet spell. The same years with the artist’s life laid along them
This record has no exact year on file — using the artist's lifetime and the work's style, what decade would you guess?
Pick one work above: name two things it shares with this one, and one thing that's different.
More works to set beside this one: topimpressionists.com/en/art/similar/georges-de-feure-window-D4DSPV-en/
Measured from the image
Main colour
Rosy Brown #a88e74
Catalogued palette
These colours inside the artist’s whole palette Find other paintings by colour
The ten leading countries
Find the three darkest countries on the map. Is the museum that keeps this painting in any of them? Write down one reason people far away might look at it.
Together these works take 100.0% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 14 works by this artist, of which 3 were looked at at least once. This painting has not been looked at yet in that time — it closes the list without a rank. The same counts, month by month
Bars measure attention, not quality. Pick the work at the top and this one: name one thing that might make a painting famous beyond how well it is painted.
Artist and museum
Born in Paris, France
Georges de Feure (real name Georges Joseph van Sluijters, 6 September 1868 – 26 November 1943) stands as a singular figure in the artistic landscape of late nineteenth-century France—a painter who eschewed formal academic training yet achieved international renown for his distinctive contributions to Symbolism and Art Nouveau. Born into a Dutch aristocratic family residing in Paris, De Feure’s upbringing instilled within him an independent spirit that would profoundly shape his artistic trajectory. His father, a celebrated architect, fostered a love of design and craftsmanship, while his Belgian mother imparted a refined sensibility—influences that combined to propel him toward a path radically divergent from conventional artistic pursuits.
Early Life & Education: De Feure’s formative years were marked by a restless curiosity and an aversion to rigid academic doctrines. Rejecting the prescribed curriculum of the Rijksacademie voor Beeldende Kunsten in Amsterdam, he swiftly returned to Paris, determined to forge his own artistic identity.
Influence of Jules Chéret & The Symbolist Movement: Recognizing the power of visual communication, De Feure found inspiration in the work of Jules Chéret, whose posters captivated audiences with their vibrant colors and stylized imagery. This encounter solidified his commitment to Symbolism—a movement that sought to express inner emotions and spiritual truths through evocative symbolism rather than literal representation.
De Feure’s artistic style seamlessly blended the tenets of Symbolism with the aesthetic principles of Art Nouveau. He embraced meticulous watercolor techniques, favoring delicate washes and subtle gradations to convey mood and atmosphere—a hallmark of his oeuvre. Furthermore, he skillfully employed decorative motifs drawn from Japanese prints, reflecting a fascination with exotic cultures and an eagerness to experiment with innovative visual languages. His designs for Siegfried Bing’s Pavilion de l'Art Nouveau at the Paris Exposition Universelle showcased his mastery of Art Nouveau principles: flowing lines, organic forms, and opulent ornamentation—a testament to his artistic vision.
Decorative Arts Projects: Beyond painting, De Feure excelled as a designer of furniture, stained glass windows, wallpaper, ceramics, and lamps—projects that exemplify the Gesamtkunstwerk ideal championed by Art Nouveau artists.
Theater Design & Poster Art: His theatrical designs for Le Chat Noir cabaret demonstrated his ability to translate artistic concepts into immersive experiences. Simultaneously, he produced striking posters that captured the spirit of the era, utilizing bold colors and stylized typography to convey messages with arresting impact.
Georges de Feure’s work garnered considerable acclaim during his lifetime—particularly for its contribution to the decorative arts. He was awarded Chevalier de la Légion d'honneur in 1901 for his artistic accomplishments, recognizing his dedication to elevating aesthetic standards. His collaboration with Siegfried Bing cemented his reputation as a leading Art Nouveau designer, securing him a prominent place within the history of European art and design. The enduring beauty and expressive power of his paintings continue to inspire admiration and scholarly study today—a legacy that secures De Feure’s position as one of France's most influential artists of the Belle Époque.
Georges de Feure’s artistic independence and unwavering commitment to exploring the expressive potential of Symbolism and Art Nouveau stand apart from many of his contemporaries. He represents a pivotal figure in bridging the gap between Impressionism and Expressionism, demonstrating how artists could simultaneously embrace naturalistic observation while delving into psychological depths. His influence extended beyond the realm of visual arts—inspiring designers and craftsmen alike to pursue innovative aesthetic ideals. De Feure’s enduring legacy resides not merely in his artistic creations but also in his embodiment of a spirit of intellectual curiosity and creative freedom—qualities that continue to resonate with artists and audiences worldwide.
On show in Richmond, United States of America
The Virginia Museum of Fine Arts was established in 1936. Its founding occurred during the challenging years of the Great Depression, a period when the institution was conceived to enrich the cultural landscape of Virginia. The museum was created through a confluence of private generosity and state vision, aiming to provide lasting access to art for the people of the Commonwealth.
The institution is owned and operated by the Commonwealth of Virginia. It holds the distinction of being one of the first museums in the American South to be operated by state funds. This structural foundation allowed the museum to develop its collections through both public support and significant private donations. The museum's early history is defined by this commitment to accessibility, ensuring that art remains a permanent fixture in the Richmond community.
The architectural history of the Virginia Museum of Fine Arts reflects a steady expansion of its physical footprint. The original structure, designed by Peebles and Ferguson Architects, was built to evoke the grandeur of the English Renaissance. This foundational design established a formal presence within Richmond, characterized by symmetrical lines and imposing columns. As the institution grew, its footprint expanded through several distinct phases. The South Wing was added in 1970, followed by the North Wing in 1976. The West Wing was later integrated into the campus in 1985.
A significant transformation occurred with a major expansion and renovation completed in April 2010. This project, involving a masterplan by Rick Mather Architects in collaboration with SMBW Architects, added more than 9,300 square meters to the existing facility. The renovation included the creation of a five-level glass and limestone entrance wing. This new section provides two floors of permanent collection galleries and serves as the primary interface between the museum and the city. The design incorporates a 12-meter high window facing the Boulevard, which offers views of the surrounding area from within the interior spaces.
The museum holds a significant assemblage of Russian decorative arts, including over 170 jeweled objects produced by Peter Carl Fabergé and other Russian workshops. This collection features five Imperial Fabergé eggs, representing the largest public display of these objects outside of Russia. These pieces demonstrate the technical precision and material complexity required by the Romanov court.
The Art Nouveau and Art Deco collections were established through a gift from Sydney and Frances Lewis. These holdings include furniture, glasswork, and various decorative arts that reflect the stylistic shifts of the early 20th century. The objects illustrate the transition between these two distinct design movements.
The museum's holdings span several continents and eras. The African art collection includes sculptures, textiles, and ceramics. These objects reflect diverse traditions and creative ingenuity. In the American art department, the collection ranges from colonial portraits to contemporary expressions of national identity.
The institution maintains one of the leading collections in the United States of art from India, Nepal, and Tibet. These Himalayan and South Asian collections are among the finest in the nation, featuring monumental sculptures and intricate paintings. The museum also preserves significant works from the Ancient Mediterranean and various collections of ancient art.
The curatorial departments are organized to reflect these diverse origins. Visitors encounter a wide breadth of material, from the spiritual symbolism of South Asian works to the formal qualities of ancient Roman reliefs. The collection's scope allows for a direct comparison between different historical periods and geographic regions.
The collection contains significant works from the Impressionist and Post-Impressionist movements. Claude Monet’s Poppy Field at Giverny (1885) and Paul Cézanne’s Portrait of Victor Chocquet (1877) represent the evolution of light and form during this period. Vincent Willem Van Gogh’s Wheat Field behind Saint-Paul Hospital with a Reaper (about 1889) provides a focused study of landscape and color. These works are held alongside portraits and studies that define the museum's European holdings.
The museum's holdings include several notable portraits and character studies. John Singer Sargent is represented by The Sketchers (1914) and Mrs. Albert Vickers (1884). Ernst Ludwig Kirchner’s Portrat Gewecke (1914) offers a perspective from the Expressionist movement. In the realm of animal portraiture, George Stubbs’s Tiger (1771) remains a key piece of the collection.
The American and indigenous art collections include specific historical subjects and portraits. George Catlin’s Tuch-ee, A Celebrated War Chief of the Cherokees (1834) is a significant inclusion. Other notable works include:
Sitzende Frau mit Holzplastik, 1912 - Ernst Ludwig Kirchner
Still life with oysters, 1876 - Eugène Henri Paul Gauguin
Jockey in Blue on a Chestnut Horse, 1889 - Edgar Degas
At the Milliner, 1885 - Edgar Degas
The foundation of the collection began with the 1919 donation of paintings by Judge John Barton Payne. This initial gift established the scope for future acquisitions. In 1947, the institution received the Lillian Thomas Pratt Fabergé collection. This acquisition included approximately 150 jeweled objects from Russia, providing a significant assembly of imperial-era craftsmanship.
The museum's holdings in Asian art were expanded through a 1968 gift from Paul Mellon. This acquisition brought Indian and Himalayan art into the permanent collection. These works include monumental sculptures and intricate paintings that reflect the spiritual symbolism of their origins.
Lillian Thomas Pratt Fabergé collection
Paul Mellon gift of Indian and Himalayan art
The museum is currently undertaking an expansion project scheduled to conclude in 2025. This development focuses on the creation of new gallery spaces designed to accommodate the growing collection. These additions aim to improve accessibility throughout the institution, ensuring the facilities meet modern standards for all visitors. The project is a deliberate step in the long-term growth of the site.
These structural changes are intended to enhance the visitor experience by providing more light-filled spaces and improved circulation. By expanding the physical footprint of the institution, the museum seeks to solidify its position as a cornerstone of Richmond’s cultural identity. The work integrates new functional requirements with the existing architectural framework to support its role as a central hub for art and community engagement.
topimpressionists.com/en/art/download/georges-de-feure-window-D4DSPV-en/
Look closely
Window — Georges De Feure
Answer in your own words. There are no wrong answers here — only answers you can explain.
Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.
rosy brown (#a88e74) is the leading color of "Window" by Georges De Feure.
You can see the original "Window" at the Virginia Museum of Fine Arts, Richmond, United States of America.
The colors of "Window" form an earthy palette. This classification describes the dominant color families.