{"version":"1.0","type":"rich","provider_name":"La Tribune de l’Art","provider_url":"https:\/\/www.latribunedelart.com","title":"A cockfight by Constantin Meunier for Brussels","author_name":"B\u00e9n\u00e9dicte Bonnet Saint-Georges","width":"1600","height":"900","url":"https:\/\/www.latribunedelart.com\/a-cockfight-by-constantin-meunier-for-brussels","html":"\u003Ch4 class='title'\u003E\u003Ca href='https:\/\/www.latribunedelart.com\/a-cockfight-by-constantin-meunier-for-brussels'\u003EA cockfight by Constantin Meunier for Brussels\u003C\/a\u003E\u003C\/h4\u003E\u003Cblockquote class='spip'\u003E\u003Cp\u003EConstantin Meunier went to Spain at the request of the Belgian government, which commissioned him to copy, in Seville, the Descent from the Cross painted in 1547 by the Flemish artist Pieter De Kempeneer, also known as Pedro de Campa\u00f1a. The stay lasted several months, from autumn 1882 to spring 1883, and the artist took the opportunity to capture the scenes around him, those of the streets and of everyday life : flamenco dancers in caf\u00e9s and women workers at the tobacco factory, religious processions on Good Friday and bettors crowding around a cockfight.\u003C\/p\u003E\u003C\/blockquote\u003E\n"}