Picturing Creativity: Portraits of Artists, 1860-1960

This brochure accompanies an exhibition of the
name
at the
same
Bowdoin College Museum of Art from
April 3 through
May
31,
1998.
COVER
Gertrude Stanton Kasebier, Portrait of Auguste Rodin
His Studio, 1905 (detail) (cat. no. 11)
This brochure
is
published with funding from the
Andrew W. Mellon Foundation.
PHOTOGRAPHS
Dennis Griggs, Topsham, Maine
DESIGN
Michael
Mahan
Graphics, Bath,
Maine
EDITOR
Susan
L.
Ransom, Portland, Maine
PRINTER
J.S.
McCarthy
Printers, Augusta,
Maine
Copyright ® 1998 Bowdoin College
All Rights Reserved
in
ACKNOWLEDGMENTS
FOREWORD
The exhibition
Picturing Creativity: Portraits of Artists,
1860-1960 has been organized by Laura
Groves, a
B.
who
member
of Bowdoin College's Class of 1996,
the sixth
Andrew W. Mellon
Museum
of Art. Ms. Groves also wrote the catalogue
is
Curatorial Intern at the
brochure for the exhibition and scheduled an education
program of visiting speakers
complement the
to
As Mellon Curatorial Intern, Ms. Groves' chief
been
responsibility has
from many disciplines and suggesting uses
which evolves from
historian,
own
Her
and collections curator and
special interest has
ship between the
an
Groves'
own
ic
and
been the
and the
artist as creator
interest gracefully expressive
museum's permanent
many ways
from the
Jose
in
which
artists
language, she has
made
in
new
insight
The museum and
its
Bowdoin
celebrated the crein the arts or
about the works of
staff are
art
created.
most appreciative
Andrew W. Mellon foundation, which has
cated two three-year grants to the
Museum
to
allo-
of Art
in
support of the curatorial internship program, and
has this past September dedicated funds to be
matched by Bowdoin College
grateful to Laura
endow
the future
We
are
Groves for her fine work in every
demanding
aspect of this
year, especially for Picturing
Creativity: Portraits of Artists,
We
to
of collections use in teaching.
1860-1960.
also wish to express thanks to Linda
Docherty,
who
has wholciicartcdly participated in
the Mellon program for these six years, and
been so
joyful
Kaliiariiu'
Director
I.
and
iu-lpfiii a
Watson
mentor
I
'89,
Alison
to the sub-
deeply value
1
thank
Dimond,
Ferris,
Amy
Ribas '76, and Victoria
K.
B.
J.
Wilson, and former
Higgison
'78, for their
also wish to
acknowledge the members of Art
in class discussions of several
Ransom
My appreciation
objects,
and
and
for
this
making
my
to Michael
who
has
for Ms. Groves.
Laura
B.
W.
I
Andrew W. Mellon
internship, the exhibi-
brochure possible.
Groves '96
Andrew W. Mellon
L.
Dennis Griggs
'73 for the brochure's design. Finally,
express sincere gratitude to the
tion,
goes to Susan
for editing the brochure, to
photography of the
works from
document-
these intimately scaled and
which they were
and brochure.
K. Bergeron, V. Scott
Edwards
Foundation
European and American culture that leads the
facilitation
L.
Mahan
informal portraits reveal information about
viewer-reader to
me
enrolled in her first-year
encouragement and camaraderie.
for
artist as
of themselves. With precise eye and eloquence of
the
S.
this exhibition.
relation-
late nine-
collection, she has
whether of colleagues
ative personality,
and the time
Suzanne
ments
to
range of talents. Reviewing photograph-
print portraits of artists
I
Honchell, Patricia Jenks, Mattie Kelley, Liza Nelson,
I
of Ms.
teenth and early twentieth centuries in the
ed the
when
History 342: The Portrait for their insightful com-
gifts as
address issues of concern arising from her work
subject,
Docherty introduced
of portraiture
members of the museum and Department of Art
Ms. Groves' involvement in Professor Docherty 's
seminar, permits her to express her
experience.
collection. Associate Professor of Art
J.
shop manager Chake
subject of this exhibition,
artist, art
permanent
the
Jennifer
Portrait.
The
protocol and of
her knowledge of the works in this exhibition and in
staffs:
She has worked particularly
Docherty as a teaching assistant in Art History 342;
The
Watson gave gener-
her committed support and friendship.
closely with Associate Professor of Art History Linda
I.
J.
museum
ously of her expertise in
nates in this exhibition
originality of approach,
she has been extraordinarily successful in contacting
for art in their courses.
number of individuals
seminar in 1993; our five-year study together culmi-
to facilitate the use of the
With
recognize a
like to
experience. Director Katharine
ject
of Art collections in teaching across the
College's curriculum.
faculty
would
History Linda
exhibition's focus.
Museum
I
who made my year-long internship at the Bowdoin
College Museum of Art a rewarding and enjoyable
Curatorial Intern
PICTURING CREATIVITY
1860-1960
Portraits of Artists,
n the late nineteenth and early twentieth centuries, the status of individuals engaged in
creative professions such as the visual arts, literature,
imaginative powers of these
al
members of society were
and music rose
The
substantially.
highly valued in an age of industri-
revolution and mass production. Artists recorded through portraiture the veneration of cre-
ativity that existed in the public
portraits, often
made
sphere and especially
in the small-format
sought to capture the aura of the
and
aesthetic sensibilities,
many ways
artists
on
leans
sits in
to
They served
The works chosen
1960 represented the
creativity
for this exhibition
show
the
of their contemporaries, or of
his piano.
IN
PORTRAITURE
portraiture dramatically in the mid-nineteenth cen-
tury.
Before the advent of the camera, only the wealthy could afford to
trait,
a process that could require multiple sittings
photography became
commercial
a viable
much reduced
art in
sit
and sometimes months
for a painted porto complete.
Not only was photography quick and inexpensive, customers
price.
could never produce. At
first,
When
1855, the bourgeoisie posed for a few minutes
obtained objective likenesses, exact traces of their physical being the subjective
human
eye
professional studios emulated painted portraiture by surrounding
props such as columns, cur-
their sitters with
tains,
The
contemplative thought, an actress assumes a character, a composer
The new medium of photography changed
at a
artistic circles.
as souvenirs of valued relationships, shared
THE USE OF PHOTOGRAPHY AND PRINTMAKING
and
of
mediums of printmaking, photography, and drawing,
stylistic influences.
from 1860
themselves: a writer
sitter.
among members
and contrived landscape backgrounds.
But innovative photographers such as Nadar
(Gaspard-Felix Tournachon, 1820-1910) soon
realized the
medium's inherently expressive
capabilities
and
expressions,
let their sitters'
and body language
poses, facial
reveal
personality.
A
revival of the popularity of etching, first in
1850s and 1860s and
Europe
in the
United
States, paralleled the
later in the
development of
photography. The etching technique, seen as a
logical extension
of drawing rather than engrav-
moved
ing,
because the stylus
soft
ground rather than cutting into
plate,
easily
through a
a metal
encouraged experimentation. In contrast
to reproductive engraving,
which
relied
on
meticulous craftsmen to copy larger works
made by
others, etching called for imagination
5 Edgar Degas, Edouard Manet
(bust-length),
1864-1865
and
aesthetic sensibility.
A new
the painter-etchers, exploited the
artists,
expressive
power of the graphic
create original landscapes,
and
scenes,
As
line to
urban
portraits.
artists asserted
work
that their
photography and etching could be
rather than reproductive,
in
fine,
these
art,
mediums soon became popular
traits
of
class
for por-
of their colleagues. Because of
their often close relationships, either
through friendship or a professional
affinity
of tastes and values,
artists felt
comfortable interpreting their
identities or collaborating
sitters'
with their
subjects to capture a sense of personality.
The small formats of photographs
and
prints, as well as the
shortened
time commitment for their completion,
added
to the intimacy of the encounter.
Working with
and acquain-
friends
tances sympathetic to their endeavors,
artists
could move past more traditional
modes of portraiture. They posed
portrayed
sitters casually,
them
and even borrowed the
tions,
3 Nadar, George Sand,
ca.
1864
their
working environments, used unconventional composi-
in their
artistic styles
of their subjects to draw attention to those
sitters'
creative contributions to society.
ARTISTS AS ADMIRED INDIVIDUALS
Visual artists respected not only other visual
musicians, and stage performers with
their personal
whom
artists,
but also the authors, poets, philosophers,
they worked and socialized. As a testament to
and professional admiration, they portrayed these
individuals,
sometimes con-
temporaries and sometimes a generation older, as icons of their age.
Many
considered Edouard Manet (1832-1883)
Influenced early in his career by the Spanish
everyday
critics
life in
Paris
and
its
and the public with
art
(cat.
no. 5) the founder of
modern
art.
of Velasquez and Goya, he painted scenes of
suburbs using broad,
flat
patches of contrasting color.
He shocked
his transformation of traditional subject matter, such as the female
nude, into blunt commentaries on the
modern
world. Artists often portrayed Manet in group
portraits at the center of the avant garde.
Edgar Degas,
of Manet as an
state
in his series
artist.'
of portraits of Manet from 1864 to 1865, showed his admiration
Edouard Manet (bust-length), an impression of the fourth and canceled
of one of the plates, could have been prompted by Felix Bracquemond's etchings after
Nadar's photographs of Parisian
literati
from
this period.
Probably of greater influence,
however, was Goya's 1799 self-portrait for the frontispiece of the Caprichos, a series of aquatints
reissued in 1855.
'
Degas, aware of Manet's
respect for Goya, conflates the Parisian
with the Spanish
ute.
He emulates
artist in a
gesture of trib-
Goya's composition by
portraying Manet in a
left,
nearly profile
view. Manet's jacket, with a striking white
triangular collar, mirrors Goya's gray coat
and
Degas employs aquatint, Goya's
scarf.
famed medium,
to darken the
and coat more than etched
background
lines
could do
alone.
Unlike Goya's sagging chin and drooping eyes, however, Manet's prominent jaw
brow
(aided by his beard) and sculpted
give
him
a
noble appearance. Degas's pro-
nouncement of these
characteristics
may
have been influenced by the nineteenthcentury science of phrenology, which set
forth that the shape of the brain, as
known through
bumps, could be
cranial
used to evaluate mental capacity and character.
6
Broad foreheads
displays here)
(like the
meant an
and imagination, since
one Manet
excess of intellect
practitioners of
phrenology claimed that these qualities
7 Auguste Rodin, Victor Hugo, Three-Quarter View, 1885
were found near the crown.'
Rodin also emphasized the believed center of creativity
Victor
Hugo (1802-1885), author
Rodin probably etched
tural portraits of the author.
On
in various degrees of finish.
From deeply
marks delineate the
cranium. Rodin
mally for his
portrait,
then, with
my
head
filled
Pan, Hercules and Jupiter
skin."^
View
(cat.
no. 7) from
this plate at least four different angles
Hugo allowed
house and to observe him
his
of the French novelist
of Notre-Dame de Paris (1831) and Les Miserables (1862).
Victor Hugo, Three-Quarter
writer's
in his portrait
one of his 1883
of Hugo's head are seen
incised drypoint lines to tentative stippling, the
knew
this
forehead intimately. Refusing to
the sculptor to set
in the interior.
Rodin
up
a
recalled,
sit for-
modeling stand on the veranda of
"I
would go and look
at
him, and
with the expression of an image which combined the properties of
I
would go back again
Most of the sketches Rodin made
to
memorize
a feature, a wrinkle or a fold of
in preparation for the sculptural portrait feature
Hugo's skull from different points of view, as Rodin watched him reading, thinking, and
ing.
Rodin repeats his inquiry of Hugo's cranium
and over again
The
etching,
empathy
in
made
in 1885, the year of
for the novelist,
Guernsey
here, etching
from
eat-
a finished sculpture over
an attempt to capture the physical sign of Hugo's genius.
who
Hugo's death, commemorates Rodin's esteem and
lived in exile
from 1853 to 1870
autocracy of Louis-Napoleon. Rodin shared with
to
sculp-
in 1891 to experience first-hand
Hugo
after
speaking out against the
a sense of alienation
and even
traveled
Hugo's place of exile.' Later photographs of the
artist
show Rodin
in front of his
1886-1890 sculpture
Hugo and
Victor
the Muses, highlighting
his fek affinity with the great author.
Like Rodin, the writer, caricaturist,
and photographer Nadar portrayed
Sand (Amadine Aurore Lucie Dupin, Baroness Dudevant, 1804-1876),
individual
trousers,
(cat.
no
no. 3). With
smoked
cigars,
reference to her independent youth, in
and had haisons with
Frederic Chopin, the sixty-year-old
cloak.
The
portrait
is
his favorite authors
a novelist
throughout France. Ten years
two hundred and
Hugo
sits
in his
who
earlier, in
as a stable
as their marshal.
They
which she wore
pyramid within the folds of her striped
Nadar made towards Sand, one of
writers.
The Pantheon Nadar. In the
a tortuous parade
from lop
first
Nadar dedicated
collection of stories,
print,
bottom with Victor
to
halt at the lower left before a radiant bust of
representations of other romantic forebears. In 1856
Was
as a strong, influential
1854, he featured her as one of the founders of the
make
enthusiasm and profound respect," his
George
helped spread the notion of universal democracy
group portrait of French
fifty literary figures
sitter,
famous men including the composer
the pinnacle of a series of gestures
and
Romantic movement
Sand
several
his
George Sand and
to Sand, with "fervent
Quand j'etais
etudiant
(When
I
a Student).''
Here Nadar depicts Sand
as a
mountain, majestic and insurmountable in her
brilliance. In
the photograph, possibly the product of one of the sessions in the 1860s undertaken to replace
a less flattering portrait then circulating,^ Sand's distant gaze visually portrays her contempla-
free-thinking mind.
tive,
Sand
reveals a quiet confidence, perhaps
from the recent success of
the adaptation of her novel Villemer at the Odeon, a Parisian theater,^ or possibly as a reflection of Nadar's reverence for her. Later, he selected this
image
for his Galerie Contemporaine
(1876-1885), a group of photographs of important nineteenth-century French individuals.
ARTISTS AS CELEBRITIES
During
this period, a "cult
tured celebrities.
ing
Many
of personality" developed in Europe as popular weekly journals fea-
artists
responded to increased
interest in their lives
and acting out public personas. The masses condoned
celebrities as
independent
intellectuals free
from
by consciously
eccentric behavior, viewing their
traditional
mores and conventional
As the public demanded more and more information about their biographies and
artists
began to appear bigger than
The obsessive
fies this
life
and
interest in the life
life
talents,
and work of James McNeill Whistler (1834-1903) exempli-
Caught up by the public persona he
personal attributes (the white lock of
his figure his delicate style
criticism.'
in their portraits.
celebration of individualism. Four hundred portraits were
after his death.'"
creat-
hair,
made of Whistler during
his
created, artists often featured his
pointed mustache, and monocle) and imitated in
and elongation of form. An 1897
oil
painting by Italian expatriate
Giovanni Boldini (copied here in a posthumous etching by lames Reich
nently displays these characteristics. Whistler's fingers, spread like a fan
|cat.
on
no. 14|) promi-
his forehead, con-
spicuously point to his white lock and monocle, while his mustache curls to mirror the shape
of his eyebrows. Boldini used a high vantage point characteristic of Japanese painting to allude
to Whistler's stylistic interests
and surrounded him with
a
dark background to evoke Whistler's
fondness for the abstract.
In the reproductive etching of 1916, Reich included in the lower right
Whistler's mother, a portion of
one of Whistler's
best
known
margin the head of
paintings from the time of
its
acquisition by the French
most
government
and
successfully advanced his career
and
abstraction,
a
monochromatic
Whistler's death in
through his
1
in
palette.
artistic
necessary to refer to the
felt it
had
values of simplicity,
Even thirteen years
and more importantly
portraits,
Arrangement
these.
903, Reich
in 1891. Whistler's portraits
to the
after
man
most famous of
Grey and Black: Portrait of the Painter's Mother.
Sarah Bernhardt (1844-1923), the world-renowned French stage
'Ay*'
actress,
spread her fame performing for the camera in such roles as Sardon's Theodora, Racine's
Phedre, and Shakespeare's Hamlet. In the 1860s, before she
became known,
Felix
Nadar had
taken a series of portraits of her, unadorned and draped in cloth with shoulders bare. In the
when
1890s,
tograph
(cat.
either
Nadar himself or
no. 6), Bernhardt
cious personality
his son, Paul (but
had transformed
and eagerness
more probably the
son), took this pho-
herself into an eccentric celebrity with a viva-
to give herself to a role.
Bernhardt cleverly masked herself in this portrait as Pierrot, the sensitive clown from
Theodore de
character,
1887 comedy Le
Banville's
Baiser.
She evolves into the zanni, a traditional comic
through costume and pose:
Bernhardt's bulky jacket hides her thin
figure, the
black skull cap and white
hat cover her
hair,
and her
face
distorts her beautiful visage
felt
makeup
with thick,
pointed eyebrows and a painted-on
The
pucker.
identity of Sarah Bernhardt,
the glamorous stage personality, cannot
be separated from
choly fool
who
melan-
Pierrot, the
sags his shoulders in
despair.
Whereas Bernhardt used her whole
body through her costume and pose
promote her
Rodin
in
on the
Gertrude Kasebier,
celebrity,
platinum print
in her
His Studio
to
Portrait of Auguste
(cat.
great sculptor's
no. 11), focused
head and hand.
Clothed in a white smock, the bulky
torso of Rodin (1840-1917) melds with
the plaster cast of The Gates of Hell
behind him, making his head, the center
of creative inspiration, and his hand, the
tool necessary to
vision, the
figure.
communicate
most well-defined
his
parts of his
Rodin looks down upon and
touches his sculpture of Baron Paul
d'Estournelles de Constant, as
the
if
his
were
mind and hand of God capable of
giving
life
to the work.
6 Atelier Nadar, Sarah Bernhardt in Le Baiser, 1890s
In 1905,
in his
when
Meudon
most famous
him
Kasebier photographed
Rodin was the world's
studio,
living artist. The Thinker, The Kiss,
and Monument
to
known
Balzac were well
throughout Europe and the United
whole pavilion
at the
had been reserved
1900
A
States.
Paris Exposition
for his sculpture.
The author
George Bernard Shaw, conflating the respect
people
once
for the sculptor with his girth,
felt
remarked, "No photograph yet taken has
touched [Rodin].
He
..
man you
the biggest
by
is
a million chalks
ever saw."" Kasebier's prox-
imity to her subject and sensitive use of light
monumentality of
successfully capture the
Rodin's figure and the aura surrounding his
head and hand, making
one of the
this
great
portraits of the sculptor.
THE STYLE OF THE SITTER
Portraying a
sitter
who
is
an
own unique
characteristics of that sitter's
style
U
Auguste Rodin in His Studio, 1905
century to create a distinctive
who
broke with convention
small corner of the photograph, but his
The instrument can be seen
he composes a
symbolizes his virtuosity
whole.
Newman
artistic
score,
in
of the twentieth
(cat.
no. 18), occupies a
presence pervades the work. The composer's
open
lid
of which dominates the picture
as Stravinsky's equivalent in this context:
and
in
its
it is
the tool he
resemblance to a quarter note (albeit reversed)
combining on paper disparate musical elements into
The rectangular
fields
it
a cohesive
of the background and the triangular shapes
from the negative space between the piano
to the twenty-five year neoclassical period Stravinsky
his portrait.
Several photo-
translates into visual language Stravinsky's musical style in the minimalistic
setting of the portrait.
resulting
arts.
in the first half
Newman
by Arnold
joins almost seamlessly with the piano, the
fingers as
powerful way to convey his
body of work.
Igor Stravinsky (1882-1971), portrayed here
plane.
artistic
graphic portraits featured in this exhibition
recreate the style of individuals
body
a subtle, yet
or her contribution to the
Certrude Stanton Kasebier,
Portrait of
is
by using the
artist
During
this
lid
and
had
its
just
support refer by visual means
completed when
time Stravinsky's scores were characterized by
clarity,
Newman
simplicity
took
and
symmetry,'^ qualities reproduced in the carefully planned geometry of the setting.
George Daniell also focused on a
portrait
photograph of Georgia O'Keeffe
poraneous
phers
distinctive period in his sitter's artistic
series
made
(cat.
He took
this
no. 22, p. 15) in 1955 to allude to her contem-
of abstract paintings featuring the door in her patio wall.
her their subject, including Todd
life.
Webb and
While others pictured her with her paintings or
in her
Many
photogra-
O'Keeffe's husband, Alfred Stieglitz.
New
Mexico surroundings, Daniell
implies O'Keeffe's increasingly abstract style by placing her against geometric shadows that
fall
18 Arnold
Newman,
1946
Igor Stravinsky,
(printed ca.
Arnold
1984)
Newman
on the adobe wall of her home. Daniell posed O'KeefFe
led her to
it
buy the abandoned house
was something
I
had
to have.
It
Abiquiu
at
took
me
in a doorway,
in 1945.
it
.
.
and simplified work, these paintings use
door opening, ground, and
from
sky, to
different perspectives.'^
a finite
The shadows
work of oil on
canvas. At the center stands O'Keeffe, the
feathery, others sharply defined,
that
in
with a
of over twenty patio paintings,
and 1960. Some of her most
number of elements, such
as the wall,
when viewed
of O'Keeffe's
while the textured wall alludes to brush-
mastermind behind
this abstract
reality.
Frederick
Sommer
Ernst's invented
pays tribute to his friend, the Surrealist
technique offrottage in his photograph
leader of Surrealism, an international intellectual
tural values
Max
artist
Max
Ernst,
by hinting
Ernst (cat. no. 19)." Ernst
movement
at
was
a
that sought to revise Western cul-
through unconventional techniques and compositions containing strong elements
of surprise. Ernst, influenced by Freud, used dream imagery in
method of drawing he named frottage.
surface,
doorway
after that the wall
in Daniell's portrait capture a sense
some
a
and
explore the changing relations of forms
painted edges,
vision of
.
series
the compositions of which this portrait evokes, between 1946
austere
the
She wrote, "That wall with a door
ten years to get
door was painted many times."" O'Keeffe completed her
maybe
such as a
wood
floor, to
the emerging shapes to create
In frottage, paper
is
representations
of his work and perfected
rubbed over
obtain a patterned image. The
new
much
artist
a textured object or
draws inspiration from
— plants, animals — that have no relation to
the original object,"' and disrupt the stable relations of time and space.
Sommer
juxtaposed two negatives, one of Ernst standing in front of wooden planks and one
of a cement culvert, to give Ernst's figure the textured appearance of a frottage drawing. His
ghost-like
body appears fused
to the background, transforming his three-dimensional torso
into a two-dimensional part of the wall.
Sommer
Surrealism, /rotto^e, while simultaneously placing
highlights Ernst's unique contribution to
him within
the broader Surrealist
movement
19 Frederick Sommer,
by
Max
setting
and dark
Ernst,
/946 ® 1946 Frederick Sommer
up the ambiguous space of wood and cement.
stripe in the
charged portrait of a
cement
negative,
man who
pop out
at
Ernst's eyes,
caught between a light
the viewer to create a psychologically
believed in the visual expression of his inner fantasies."
Portraying creative people as admired individuals, world-famous celebrities, and pioneers
of unique
styles are a
few of
many ways
artists
honored
their colleagues
through portraiture
of this period. The exhibition also contains images of people actively engaged in creating a
photograph, or choreographed dance, of painters and writers
print,
tion,
and of sitters lending
artists
who made
their likenesses to artists for
stilled in spells
showcasing the
of inspira-
artists' talents.
these portraits were able to explore the identities of these people
The
and of
themselves with a subjectivity not always possible in commissioned portraiture. The portraits
in Picturing Creativity captivate us with the
creative expression.
bond
the
artist
and
sitter
share in their quest for
WORKS
NOTES
would
Later Degas
1.
Manet as a "painter," a label he
and would purchase several of Manet's
refer to
reserved for a select few,
works. Marianne Karabelnik, "Au Milieu des Artists
Hommes
de
Lettres,"
Degas
Portraits, ed. Felix
et
in the
Museum
College
of Art. Starred works are illustrated
Leopold Flameng
1.
French, 1831-1911
,
Meryon
Portrait of Charles
Barbara Stern Shapiro, "Degas's Printed Portraits," Degas
Baumann and
(French printmaker, 1821-1868)
David de Giustino, Conquest of Mitid: Phrenology and Victorian
3.
Thought (Totowa, N|:
Rowman and
on
heliogravure reproduction
Karabelnik, 139.
Littlefield,
1975),
16-17.
paper of the drawing dated
laid
May 1858
11
Social
in this
Baumann and
1994) 260.
Portraits,
permanent colleaion of the Bowdoin
brochure. Measurements are height before width.
des
Marianne Karabelnik (London: Merrell Holberton Publishers,
2.
THE EXHIBITION
IN
works are
All
sheet: 33.5 x 48.5
image: 18.3 x 24.4
Gift of
David
P.
cm (13
cm (7
3/16 x 19 1/8 inches)
1/4 x 9 9/16 inches)
Becker '70
1979.59
Quoted
4.
&
in Catherine Lampert, Rodin: Sculpture
David Macey (London: Arts Council of Great
trans.
Drawings,
Britain,
2.
James Abbott McNeill Whisder
American, 1834-1903, worked
1986), 106.
Drouet,
(Charles, French sculptor,
Lampert, 118.
5.
in
England
after
1859
1859
1836-1908)
drypoint
Maria Morris Hambourg, Fran<;oise Heilbrun, and Philippe
6.
Neagu, Nadar (New York: Metropolitan
Museum
of Art, 1995),
9 and 20.
sheet: 28.1 x 18.8
cm
1/16 x 7 3/8 inches)
(11
x 15.2 (8 7/8 x 6 inches)
Gift of Miss Susan Dwight Bliss
plate: 22.5
1963.432
7.
Hambourg, 246.
8.
Nigel Gosling, Nadar
*3.
(New
York: Alfred A. Knopf, 1976),
Nadar (Gaspard-Felix Tournachon)
French, 1820-1910
George Sand,
178.
1864
ca.
(Amadine Aurore Lucie Dupin, Baroness Dudevant, French
9. Eric
Denker, In Pursuit of the
Butterfly: Portraits of
author,
lames
McNeill Whistler (Washington, D.C.: National Portrait Gallery,
1995)
,
mount: 33.3 x 25.4 cm
17.
sheet
10.
1804-1876)
woodburytype
Museum
Denker, 16.
( 1
3 1/8 x 10 inches)
and image: 23.7 x 18.9 cm
(9 15/16 x 7 7/16 inches)
purchase, Lloyd O. and Marjorie Strong Coulter
Fund
1989.7
11.
Quoted
in
Barbara
L.
Michaels, Gertrude Kdsebier: The
Photographer and Her Photographs
(New
York: Harry N. Abrams,
1992), 102-103.
4. Sir
Francis
British,
Seymour Haden
1818-1910
Portrait of Francis
12.
Joseph Coroniti, "Igor Fyodorovich Stravinsky," Dictionary
of American Biography, Supplement Nine,
1971-1975 (New York:
Charies Scribner's Sons, 1994), 777.
Seymour Haden, No.
sheet: 25.1 x
36
plate: 19.7 x
27
cm
cm
Georgia O'Keeffe, Georgia O'Keeffe
1976), n.
p.
14. Lloyd
Goodrich and Doris
(New
York: Viking Press,
(9 7/8 x 14 3/16 inches)
Whitney Museum of American
(New
York:
h '22
1923.86
*5.
Bry, Georgia O'Keeffe
(While Etching), 1862
(7 3/4 x 10 5/8 inches)
Gift of Charies A. Coffin
13.
II
etching and drypoint
Edgar Degas
French,
1834-1917
Edouard Manet (bust-length), 1864-1865
Art, 1970), 26.
(French painter, 1832-1883)
15.
Sommer and
Ernst
met
in 1941
United States during World War
when
Ernst fled to the
etching with drypoint and aquatint, canceled fourth state
sheet: 32.8 x
II.
25
plate: 13 x 10.6
16.
Uwe M.
Schneede,
Max
Ernst, trans. R.
W.
Last
(New
York:
17. Kirk
Varnedoe, Modern
Columbia University
1976), 46.
Portraits:
Art
purchase
1959.25
Praeger Publishers, 1972), 73.
York:
Museum
cm (12 15/16 x 9 7/8 inches)
cm (5 1/8 x 4 3/16 inches)
The Self and Others (New
and Archaeology Department,
*6. Atelier
Nadar
Active in Paris, 1854-early 1940s
Sarah Bernhardt
in
(French
1844-1923)
actress,
Le Baiser,
1
890s
gelatin silver print
mount: 35.1 x 26.5 cm (13 13/16 x 10 7/16 inches)
and image: 31 x 21.8 cm (12 3/16 x 8 9/16 inches)
sheet
Museum
1988.34
purchase, Lloyd O. and Marjorie Strong Coulter
l
imd
Auguste Rodin
'7.
1
Victor
I
1885
Three- Quarter View,
luf^o,
c;hilde
I
lassam
loseph Pennell, 1917
(French author, 1802-1885)
(American printmaker and author, 1860-1926)
drypoini
lithograph
cm
cm
sheet: 30.7 x 22.2
plate; 22.5 x 17.6
Gift of
5
American, 1859-1935
French, 1840-1917
David
P.
1/8x8 3/4 inches)
7/8x6 15/16 inches)
(12
sheet: 45.4 x
(8
Gift of
Becker '70
cm
30 4
Mrs Maud
I
(17 7/8 x
15/16 inches)
11
lassam
1940.75
1994.10.321
16.
8.
American, 1848-1907
(Scottish poet
and
Head
Second Version,
Robert Louis Stevenson,
1
889
cm
1926
of MiLX l.iebermann, ca.
(German
1850-1894)
novelist,
bronze medallion, reduction, remodeled
diameter: 44.6
Rudolf Cirossmann
German, 1882-1941
Augustus Saint-Gaudens
painter
and printmaker, 1847-1935)
graphite
24
sheet: 30.7 x
slightly
Museum
(17 3/4 inches)
Bequest of Miss Mary Sophia Walker
cm
(12
1/16x9
1/2 inches)
purchase
1957.93
1904.29
17.
9.
American, 1816-1906
(limnianuel Radensky)
R,iy
Space Writing (Self Portrait). 1935
1890-1900
Inspiration (Setf-Portrait), ca.
gelatin silver print
cm
sheet and image: 8.1 x 5.9
graphite
sheet: 18 x 26.6
Museum
Man
American, 1890-1976
Daniel Huntington
cm
Museum
(7 1/8 x 10 1/2 inches)
purchase, Florence C.
Quinby Fund
in
memory
of
(3 3/16 x 2 5/16 intlics)
purchase, Lloyd O. and Marjorie Strong Coulter I'und
1987.15
Henry Cole Quinby h 16
1970.27.3
•
Arnold
18.
American,
10.
Alphonse Legros
1946 (printed
No. 2), 1905
1984)
sheet: 27.7 x 35.3
cm
( 1
image: 17.1 x 32.5
2 3/4 x 9 7/16 inches)
Susan Dwight
1
882-1971
gelatin silver print
lithograph
sheet: 32.4 x 23.9
ca.
(Russian composer working in the United Slates,
Portrait of Legros (Medallion
Museum
Bliss
1956.24.83
•11.
1918
Igor Stravinsli}',
French, 1837-1911
Gift of Miss
Newman
b.
cm (10
cm (6
7/8 x 13 7/8 inches)
3/4 x 12 13/16 inches)
purchase, Lloyd O. and Marjorie Strong Coulter
Fund
1984.11
Gertrude Stanton Kasebier
•
American, 1852-1934
19. Frederick
American,
Portrait of Auguste Rodin in His Studio,
Max
1905
b.
Sommer
1905
1946
Ernst,
(French sculptor, 1840-1917)
(German
platinum print
gelatin silver print
cm
sheet and image: 31.5 x 22.7
Gift of Sarah
(12 3/8 x 8 15/16 inches)
Wilson Hunt
painter, collagist,
and author, 1891-1976)
mount: 30.7 x 35.6 cm (12 1/8 x 14 inches)
sheet and image: 18.9 x 24.2
Museum
1984.29
cm
(7
7/16 x 9 1/2 inches)
purchase, Gridley W. Tarbell
II
Fund
1997.4
12.
Anders Leonard Zorn
Swedish, 1860-1920
20. Irving
Portrait of August Strindberg,
(Svkfedish playwright
and
novelist,
1849-1912)
Marc
b.
Chagall,
1917
New
York,
1948 (printed May-June 1969)
(Russian painter and printmaker working in France,
etching
cm
cm
sheet: 39.8 x 28.1
plate:
Penn
American,
1910
29.8 x 19.7
(15 11/16 x
11
1/16 inches)
1887-1985)
Wiggins-Teape paper on aluminum, multiple coating and print-
(11 3/4 x 7 3/4 inches)
Bequest of John Nicholas Estabrook '36 and Dorothy Coogan
ing, 1)
Estabrook
mount: 55.8 x 66
1988.22.112
sheet and image: 46.5 x 58
palladium/iridium, and 2) platinum/palladium
Museum
13.
Ludwig Meidner
cm
(22 x 26 inches)
cm
(18 15/16 x 22 7/8 inches)
purchase, Lloyd O. and Marjorie Strong Coulter Fund
1989.22
German, 1884-1966
Portrait of the Poet E. Seyerle,
1
91
21.
sheet: 33.9 x 23.2
plate: 14.6 x 11.9
Museum
Arnold
American,
drypoint
cm (13 3/8
cm (5 3/4 x
Newman
b.
1918
x 9 1/8 inches)
Pablo Picasso, Vallauris, France, 1954 (printed ca. 1984)
4 11/16 inches)
(Spanish painter, sculptor, printmaker, and ceramist working in
purchase, Helen Johnson Chase
Fund
France,
1969.52
1881-1973)
gelatin silver print
mount: 60.9 x 50.8 cm (24 x 20 inches)
'14 Jacques Reich
(after
Giovanni Boldini)
American, born Hungary, 1852-1923
sheet
(Italian,
1842-1931)
1984.10
James McNeill Whistler, 1916
(American painter and printmaker working
in
England,
1834-1903)
etching
sheet: 65.2 x 47.5
plate: 58.6 x 33.4
Gift of Miss
cm
cm
(25 11/16 x 18 11/16 inches)
(23 1/16 x 13 1/8 inches)
Susan Dwight
1956.24.137
Bliss
and image: 46.6 x 36.7 cm (18 3/8 x 14 7/16 inches)
purchase, Lloyd O. and Marjorie Strong Coulter Fund
Museum
22 George
Georgia O'Keeffe in a Doorway, Abiquiu,
Daniell,
New
Mexico, 1955 ® 1955 George Daniell
'22. George Daniell
Denker,
American,
McNeill Whistler. Washington, D.C.: National Portrait
1913
b.
Georgia O'Keeffe
in
a
Doonmy,
Abicjuiu,
New
Mexico, 1955
Eric. In Pursuit of the Butterfly: Portraits of
James
Gallery, 1995.
(American painter, 1887-1986)
Hambourg, Maria
gelatin silver print
cm (13 7/8 x 10
26.5 cm (10 13/16 x
sheet: 35.2 x 27.8
15/16 inches)
Neagu. Nadar.
image: 27.5 x
10 7/16 inches)
1995.
Gift of
Morris, Frangoise Heilbrun,
New York:
Metropolitan
and Philippe
Museum
of Art,
George Daniell
Hennessey, William, and
1988.36.5
to
23. Philippe
Halsman
American, born
Jerome Robbins
in
of Michigan
1906-1979
Latvia,
Dance
Studio,
Ann Arbor
from the Unwersily
Ml: Regents of the
b.
Lampert, Catherine. Rodin: Scidpture
1918)
&
Draivings. Trans.
David Macey. London: Arts Council of Great
cm
image: 34.6x27.5
Gift of Isaac
of Art.
Smith. From Ansel Adams
Self-Portraits
University of Michigan, 1994.
(American dancer and choreographer
28
Museum
Graham
and
Portraits
1959
gelatin silver print
sheet: 35.4 x
Andy Warhol:
(13 15/16 x
cm
Lagnado
11
Britain, 1986.
inches)
Michaels, Barbara
(13 5/8 x 10 13/16 inches)
Her Photographs.
'71
L.
Gertrude Kdsebier: The Photographer and
New
York: Harry N. Abrams, 1992.
1986.94.15
Reaves,
Wendy
Wick, ed. American
Portrait Prints: Proceedings
of the Tenth Annual American Print Conference.
FOR FURTHER READING
Baumann,
Felix,
and Marianne Karabelnik,
Charlottesville: Published for the National Portrait Gallery,
ed.
Degas
Portraits.
Brilliant, Richard. Portraiture.
Smithsonian
Cambridge, MA: Harvard
Varnedoe, Kirk.
York:
University Press, 1991.
Graham,
ed. I'he I'orirait in Photography.
Reaktion Books, 1992.
by the University of Virginia,
London:
Modem
Portraits:
Columbia University
Depanmont,
Clarke,
Institution,
1984.
London: Merrel! Ilolberlon Publishers, 1994.
1
976.
Art
The Self and Others.
and Archaeology
New
BOWDOIN COLLEGE MUSEUM OF ART
BRUNSWICK, MAINE