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  • Degas painted the Morbilli portrait around 1865, roughly a decade before the " Duchessa ."
  • "After the Bath, " and the double portrait of Monsieur and Madame Morbilli, is, all alone, a satisfying exhibition.
  • Look at his Morbilli double portrait, for instance, in which he seems to mimic Ingres'precision in the portrait of her and Delacroix's looser approach in the portrait of him.
  • The Morbilli portrait is well-known _ to the point that the MFA once used it in an ad campaign, captioning Therese's startled expression with the words, " What!
  • That the painting doesn't ask you to love it is not what makes it less compelling than the Morbilli doublg xnrtrait or the two versions of the artist's father with the guitarist.
  • The fuzzy black decorations on the shoulders and cuffs of Therese Morbilli's dress are an example of bravura brushwork, as are the calligraphic gold squiggles on the black background of the carpet draped over the table.
  • The " Duchessa " _ Degas's aunt _ now hangs in the same room with the MFA's great " Edmondo and Therese Morbilli " and " Degas's Father Listening to Lorenzo Pagans Playing the Guitar, " both of which outclass the new addition . ( Many experts would disagree with me here .)