Schuler, Philip.  Charles Bean on the Great Pyramid. 1915.  Taken on New Year’s Day, 1915.  Happy New Year, ladies.  Information via wikimedia commons.  

Schuler, Philip.  Charles Bean on the Great Pyramid. 1915. 

Taken on New Year’s Day, 1915.  Happy New Year, ladies. 

Information via wikimedia commons.

 

Schiele, Egon.  Self-Portrait With Black Clay Vase and Spread Fingers.  1911.  This painting “signals an emergence from the dark and somewhat ponderous Self-Seers phase.  The colors are noticeably brighter, a quality that is accentuated by the artist’s luminous oil-on-panel technique. [Ladies?] The mysterious second self who haunts the earlier series has here been replaced by a far more subtle (though equally ominous) black profile that juts out behind the right side of Schiele’s face, giving him a Janus-like aspect” (Kallir 120).

Schiele, Egon.  Self-Portrait With Black Clay Vase and Spread Fingers.  1911. 

This painting “signals an emergence from the dark and somewhat ponderous Self-Seers phase.  The colors are noticeably brighter, a quality that is accentuated by the artist’s luminous oil-on-panel technique. [Ladies?] The mysterious second self who haunts the earlier series has here been replaced by a far more subtle (though equally ominous) black profile that juts out behind the right side of Schiele’s face, giving him a Janus-like aspect” (Kallir 120).

Campin, Robert (also called the Master of Flémalle).  Christ and the Virgin. [Detail] c. 1430-1435. “One of the earliest and greatest masters of Flemish painting was Robert Campin.  He has been identified with the Master of Flémalle on stylistic and other grounds.  Characterized by a naturalistic conception of form and a poetic representation of the objects of daily life, Campin’s work… prefigures the achievements of Jan Van Eyck and the painters of the Northern Renaissance” (Kuiper 22).  Ladies love blasphemy?  Merry Christmas!

Campin, Robert (also called the Master of Flémalle).  Christ and the Virgin. [Detail] c. 1430-1435.

“One of the earliest and greatest masters of Flemish painting was Robert Campin.  He has been identified with the Master of Flémalle on stylistic and other grounds.  Characterized by a naturalistic conception of form and a poetic representation of the objects of daily life, Campin’s work… prefigures the achievements of Jan Van Eyck and the painters of the Northern Renaissance” (Kuiper 22).

 Ladies love blasphemy?  Merry Christmas!

Ensor, James.  Self-Portrait With Masks. 1899. This painting “presents a different, less macabre but perhaps more unnerving kind of symbolic death.  Rather than show himself as a skeleton, here Ensor borrowed his own likeness, including headgear, from his Self-Portrait With a Flowered Hat of eleven years earlier, and subjected it to an invasive advance of masks.  The artist still resembles the proud young painter from the earlier work, elegantly Rubenesque [Ladies?], but he is no longer inventing anything, seemingly paralyzed and lost in a sea of frozen faces” (Madeline 116). Maybe the only self-portrait of Ensor’s that couldn’t be captioned “Ladies?” is My Portrait in 1960.  Maybe.

Ensor, James.  Self-Portrait With Masks. 1899.

This painting “presents a different, less macabre but perhaps more unnerving kind of symbolic death.  Rather than show himself as a skeleton, here Ensor borrowed his own likeness, including headgear, from his Self-Portrait With a Flowered Hat of eleven years earlier, and subjected it to an invasive advance of masks.  The artist still resembles the proud young painter from the earlier work, elegantly Rubenesque [Ladies?], but he is no longer inventing anything, seemingly paralyzed and lost in a sea of frozen faces” (Madeline 116).

Maybe the only self-portrait of Ensor’s that couldn’t be captioned “Ladies?” is My Portrait in 1960.  Maybe.

David, Jacques-Louis.  Pierre Sériziat (1757-1847). 1795. “The outstanding Neoclassic painter, and one of the great French painters of all time, was Jacques-Louis David (1748-1825), who eventually outlived his Revolutionary-Napoleonic style.  David won the Prix de Rome  in 1774 [Ladies?], remained in Rome until 1781, and changed from a Late-Baroque Rococo to severe classicism” (Hibbard 385).

David, Jacques-Louis.  Pierre Sériziat (1757-1847). 1795.

“The outstanding Neoclassic painter, and one of the great French painters of all time, was Jacques-Louis David (1748-1825), who eventually outlived his Revolutionary-Napoleonic style.  David won the Prix de Rome  in 1774 [Ladies?], remained in Rome until 1781, and changed from a Late-Baroque Rococo to severe classicism” (Hibbard 385).

Van Dyck, Anthony.  Self-Portrait With a Sunflower.  1633. “Clad in a suit of rich crimson silk, the painter is seen to the waist, turned to the right and looking at the spectator; with his left hand he draws out and displays the gold chain of honour which the king had bestowed upon him, and with the right he points to a sunflower.  What is the allegory of this painting?  Van Dyck would seem to suggest that as the sunflower turns its face to the sun as the latter crosses the heavens, so does the painter’s art depend upon the warmth of the patronage which may be extended to it, while mere payment in gold does not affect it so much as the continuing rays of royal favor” (Cust 115-116). A chain of honour (with a ‘u’!) from the king?  Oh my!  Ladies?

Van Dyck, Anthony.  Self-Portrait With a Sunflower.  1633.

“Clad in a suit of rich crimson silk, the painter is seen to the waist, turned to the right and looking at the spectator; with his left hand he draws out and displays the gold chain of honour which the king had bestowed upon him, and with the right he points to a sunflower.  What is the allegory of this painting?  Van Dyck would seem to suggest that as the sunflower turns its face to the sun as the latter crosses the heavens, so does the painter’s art depend upon the warmth of the patronage which may be extended to it, while mere payment in gold does not affect it so much as the continuing rays of royal favor” (Cust 115-116).

A chain of honour (with a ‘u’!) from the king?  Oh my!  Ladies?

Van Dyck, Anthony.  Paris.  c. 1628.  “Paris was later ordered by Jupiter to award a golden apple to the goddess he considered the most beautiful of Juno, Minerva and Venus… The unusual concentration on the shepherd and his youthful beauty [Ladies?] has… led to the assumption that the painting might be a self-portrait of the painter.  While there is nothing in his traits resembling van Dyck as he is known to us from other portraits, the painting might still be considered a symbolic self-portrait of an artist, a man seeking beauty” (Vogtherr).

Van Dyck, Anthony.  Paris.  c. 1628. 

“Paris was later ordered by Jupiter to award a golden apple to the goddess he considered the most beautiful of Juno, Minerva and Venus… The unusual concentration on the shepherd and his youthful beauty [Ladies?] has… led to the assumption that the painting might be a self-portrait of the painter.  While there is nothing in his traits resembling van Dyck as he is known to us from other portraits, the painting might still be considered a symbolic self-portrait of an artist, a man seeking beauty” (Vogtherr).

Van Dyck, Anthony.  Self-Portrait.  1618.  “One of Rubens’s collaborators, Anthony Van Dyck (1599-1641), had an illustrious independent career, mainly as a portraitist.  Son of an Antwerp silk merchant, he was listed as a pupil of the dean of Antwerp’s Guild of Saint Luke at age ten.  He had his own studio and roster of pupils at age sixteen [Ladies?]…  His artistic character was expressed in the elegance and aristocratic refinement of his work” (Stokstad 783). It’s all Van Dyck self-portraits this week on “Art Captioned ‘Ladies?’”  More Van Dyck than you can shake a stick at.

Van Dyck, Anthony.  Self-Portrait.  1618. 

“One of Rubens’s collaborators, Anthony Van Dyck (1599-1641), had an illustrious independent career, mainly as a portraitist.  Son of an Antwerp silk merchant, he was listed as a pupil of the dean of Antwerp’s Guild of Saint Luke at age ten.  He had his own studio and roster of pupils at age sixteen [Ladies?]…  His artistic character was expressed in the elegance and aristocratic refinement of his work” (Stokstad 783).

It’s all Van Dyck self-portraits this week on “Art Captioned ‘Ladies?’”  More Van Dyck than you can shake a stick at.

Gauguin, Paul. Portrait of the Artist with the Yellow Christ. 1890-1891. “Hoping to escape the aggravations of the industrialized European world and constantly searching for an untouched land of simplicity and beauty, Gauguin looked toward remote destinations where he could live easily and paint the purity of the country and its inhabitants” (Voorhies). Gauguin also liked to use his self-portraits as a chance to show off his other sweet paintings.  Ladies?

Gauguin, Paul. Portrait of the Artist with the Yellow Christ. 1890-1891.

“Hoping to escape the aggravations of the industrialized European world and constantly searching for an untouched land of simplicity and beauty, Gauguin looked toward remote destinations where he could live easily and paint the purity of the country and its inhabitants” (Voorhies).

Gauguin also liked to use his self-portraits as a chance to show off his other sweet paintings.  Ladies?

Brady, Mathew.  Samuel F. B. Morse. Between 1855 and 1865.  “I went to the ladies’ parlor and was presented to the ladies, six in number, who did the honors (if that is the expression) of the evening.  There was a great crowd, I think not less than three hundred people, and from all parts of the country—Senators and their wives, members of the House and their wives and daughters, and there was a great number of fine looking men and women” (Morse 28). Samuel Morse always got invited to the best parties.  Ladies?

Brady, Mathew.  Samuel F. B. Morse. Between 1855 and 1865. 

“I went to the ladies’ parlor and was presented to the ladies, six in number, who did the honors (if that is the expression) of the evening.  There was a great crowd, I think not less than three hundred people, and from all parts of the country—Senators and their wives, members of the House and their wives and daughters, and there was a great number of fine looking men and women” (Morse 28).

Samuel Morse always got invited to the best parties.  Ladies?