法國畫家喬治‧克萊讓（Georges Clairin,1843-1919）是位曾獲得多項學院獎項的藝術家；他除了擅長描繪摩爾人（Moorish）歷史與風俗的東方風情（Orientalism）題材，也參與巴黎歌劇院在1870年代的裝飾設計，其活潑多彩與感官性十足的裝飾畫相當為人稱道。不僅如此，克萊讓以巴黎歌劇院為主題的作品，以及為上流社會與劇院女星繪製的肖像，如莎拉‧伯恩哈特（Sarah Bernhardt, 1844-1923）等，也是其作品中相當著名的一種類型。

【聆賞歌劇的貴婦】描繪的正是一位貴婦側坐在金碧輝煌的劇院樓上包廂矮牆上，一手插腰，閒適向下觀望的情景。她一身華服裝扮，頭戴羽飾寬緣窄帽，穿著貼身束腰包臀的無袖禮服（bustle dress）與過肘晚宴手套（opera gloves）；頸邊與胸前輾轉而下的繁複蕾絲花邊襯托出女子的臉蛋與姣好的身材，白皙透紅的膚色與淺粉的披風肩領及懷中摺扇相映成趣，右肩的紅花則與其背後的布幔、座椅融為整片豔紅。主導畫面的紅、白與金色形成強烈的顏色對比，烘托出劇院的華麗炙熱氣氛。女子懷中的望遠鏡與椅背上的面具，暗示出劇院活動中匿藏與展現身份、觀看與被觀看、虛假與真實之間的微妙；而她居高臨下、半藏陰影中的慵懶眼神，以及微張的紅唇，也讓其心思顯得難以捉摸，令人玩味。(于禮本)

French painter Georges Clairin (1843–1919) was skillful at depicting subjects about Moorish history and Orientalism, for which he was recognized with many awards over his lifetime. He also participated in the decorative design of Opera Garnier in the 1870s. His colorful and evocative decorative paintings were widely acclaimed at the time. Moreover, works themed on the Opera Garnier and portrait paintings for the aristocracy and theater actresses, such as Sarah Bernhardt (1844–1923), were also notable genres among Clairin’s other works.

At the Opera depicts a wealthy lady sitting next to the lower wall of an upper box in an opulent opera house. She casually looks downward toward the viewer with one hand on her hips. Luxuriously clothed, she wears a feathered hat with wide brim, a sleeveless bustle dress, and a pair of opera gloves stretching beyond her elbows. The intricate lace on her neck and chest serves to accentuate her face and body while her rosy-white skin, pink cape, and folding fan accentuate each other. The red flowers on her right shoulder and the curtain and chair behind her meld into one large swathe of red velvet. Red, white, and gold form a strong contrast on the canvas, highlighting the jubilant and luxurious atmosphere of the opera house. Meanwhile, the opera glasses near her hand and the mask on the back of the chair suggest a subtle transition between being hidden and revealed, seen and being seen, as well as the delicate shift between the virtual and the real. Looking down, she casts her gaze outward with half-opened lips while partly disguising herself under a shadow — creating a mysterious and elusive look that is at once enchanting and mesmerizing. (Li Pen YU)