By 1891, the year The Three Aces was painted, Corcos had returned to Italy with an established reputation and a Parisian dealer. Goupil was a savvy commercial enterprise, and decorative prints and paintings of enticing young women was one of their specialties. In a recent review of the Corcos retrospective at the Palazzo Zabarella in Padua, Roderick Conway Morris describes what The Three Aces makes evident: "technical skills in reproducing luxurious women’s fashions and the milky-white and subtly blushing complexions of the young ladies wearing them made him an ideal supplier… Corcos was also adept at infusing these paintings with a fresh-faced sexuality without exceeding the bounds of bourgeois decorum, and Goupil admiringly described him as a painter who was 'chastely impure;" (Morris, "A Reassessment of Corcos, Sensuality and Subtlety Intact," New York Times, October 7, 2014).
While Corcos enjoyed wide artistic acclaim and great financial success in his lifetime, his contributions to art during the Belle Époque remain somewhat overlooked outside of his native Italy. He had a reputation for being the "peintres des jolies femmes" (a moniker given to him by The Times correspondent Henri De Blowitz that followed him for his entire career), but he also produced an idiosyncratic body of work which includes psychologically rich interpretations of the world and people around him.
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