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Henri de Toulouse-Lautrec - French, 1864 - 1901
Alfred la Guigne, 1894
West Building, Main Floor — Gallery 80
A man and two women standing near a bar nearly fill this vertical painting. Though made with oil on cardboard, the paint is applied in thin strokes, so parts of the painting look more like a drawing, and the tan of the cardboard is visible in many areas. Shown from the thighs up at the center of the composition, the man stands with his back to us, looking away from us to our left, almost in profile. The camel-brown of the cardboard acts as the color of his jacket and the skin of his face, which are otherwise delineated with cobalt-blue and violet-purple lines. He wears a dark bowler hat, and a white cigarette dangles in his lips. A few scribbled black lines could suggest a mustache. Hands thrust into his pockets, he looks down at the bar, which a runs along left edge of the composition. Squeezed between the man and the glasses on the bar, a woman wearing a teal-blue feather boa leans one elbow on the bar and looks back at the man from the corners of her eyes. Her skin is rose-pink and she has curly red hair. Her arched, thin eyebrows and snub nose are set in a round face with a double chin, and her crimson-red lips are pursed. She wears a ruby-red dress or coat and a turquoise-blue, wide-brimmed hat with bubblegum-pink ribbons or feathers. Two small, stemmed glasses sit on the bar in front of the man and woman. Behind the bar, along the left edge of the painting, a man wears a dark vest over a shirt with sky-blue sleeves. A light cloth lies over the shoulder closer to us and he has dark hair. The rest of his features are lost behind the woman’s hat. To our right, beyond the man’s shoulder, a woman stands with her body facing us as she tips back and looks off to our right. She wears a long, black tie over a pale blue, high-necked shirt. One hand is tucked into a pocket on the front of her jacket, which is streaked with mint green over the brown cardboard. Loosely painted vertical stripes below her waist suggests she wears a skirt, indicating this is a woman, though it might otherwise be difficult to tell. She wears a low, royal-blue cap with an emerald-green feather curling up from the back over a cloud of yellow hair. Only the gray bowler hat, ruddy skin around the ear, and a teal-green jacket of a fifth person are visible between that woman and the right edge of the composition. The wall at the back of the space is tan with shell-pink streaks, and a sign with a red triangle against a turquoise background is cropped by the right edge of the painting. The scene is sketchily painted so features are outlined with blue or brown and filled in with streaks of pale color. The artist inscribed the painting in the lower right corner, “pour Metenier d'apres son Alfred la Guigne HTLautrec,” with the HTL overlapping to create a monogram.
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The National Gallery of Art in Washington, DC is a world-class art museum that displays one of the largest collections of masterpieces in the world including paintings, drawings, prints, photographs, sculpture, and decorative arts from the 13th century to the present. The National Gallery of Art collection includes an extensive survey of works of American, British, Italian, Flemish, Spanish, Dutch, French and German art. With its prime location on the National Mall, surrounded by the Smithsonian Institution, visitors often think that the museum is a part of the Smithsonian. It is a separate entity and is supported by a combination of private and public funds. Admission is free. The museum offers a wide range of educational programs, lectures, guided tours, films, and concerts.
The original neoclassical building, the West Building includes European (13th-early 20th century) and American (18th-early 20th century) paintings, sculptures, decorative arts, and temporary exhibitions. The National Gallery of Art was opened to the public in 1941 with funds provided by the Andrew W. Mellon Foundation. The original collection of masterpieces was provided by Mellon, who was the U. S. Secretary of the Treasury and ambassador to Britain in the 1930s. Mellon collected European masterpieces and many of the Gallery’s original works were once owned by Catherine II of Russia and purchased in the early 1930s by Mellon from the Hermitage Museum in Leningrad.
The core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, and Chester Dale. The Gallery's collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder.
The NGA's collection galleries and Sculpture Garden display European and American paintings, sculpture, works on paper, photographs, and decorative arts. Paintings in the permanent collection date from the Middle Ages to the present. The Italian Renaissance collection includes two panels from Duccio's Maesta, the tondo of the Adoration of the Magi by Fra Angelico and Filippo Lippi, a Botticelli work on the same subject, Giorgione's Allendale Nativity, Giovanni Bellini's The Feast of the Gods, Ginevra de' Benci (the only painting by Leonardo da Vinci in the Americas) and groups of works by Titian and Raphael.
The collections include paintings by many European masters, including a version of Saint Martin and the Beggar, by El Greco, and works by Matthias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, Francisco Goya, Jean Auguste Dominique Ingres, and Eugène Delacroix, among others. The collection of sculpture and decorative arts includes such works as the Chalice of Abbot Suger of St-Denis and a collection of work by Auguste Rodin and Edgar Degas. Other highlights of the permanent collection include the second of the two original sets of Thomas Cole's series of paintings titled The Voyage of Life, (the first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York) and the original version of Watson and the Shark by John Singleton Copley (two other versions are in the Museum of Fine Arts, Boston and the Detroit Institute of Arts).
en.wikipedia.org/wiki/National_Gallery_of_Art
Andrew W. Mellon, who pledged both the resources to construct the National Gallery of Art as well as his high-quality art collection, is rightly known as the founder of the gallery. But his bequest numbered less than two hundred paintings and sculptures—not nearly enough to fill the gallery’s massive rooms. This, however, was a feature, not a failure of Mellon’s vision; he anticipated that the gallery eventually would be filled not only by his own collection, but also by additional donations from other private collectors. By design, then, it was both Andrew Mellon and those who followed his lead—among them, eight men and women known as the Founding Benefactors—to whom the gallery owes its premier reputation as a national art museum. At the gallery’s opening in 1941, President Roosevelt stated, “the dedication of this Gallery to a living past, and to a greater and more richly living future, is the measure of the earnestness of our intention that the freedom of the human spirit shall go on.”
www.doaks.org/resources/cultural-philanthropy/national-ga...
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The next following pages are a handful of my sketchbook pages which consist of development of designs, and different artistic drawing.
When first designing my jacket templates: I looked at a traditional structured leather jacket, with structured collar and the excessive use of zips. I thought about how this design could link with my own design, and fit with the 90s grunge theme, as leather jackets were very popular at that time. If I had progressed with a leather jacket, I would have used patchwork leather and black cord as shown in my Grunge concept board, and instead of using sewing I would use pieces of wire to patch them together.
I then looked at balloon sleeves and using them as the statement piece of my jacket. I loved this idea, and having the main body of the jacket patchwork and the sleeves just plain denim. I also planned to print a quote on the sleeves to link with the punk era theme. In the end I decided to focus on a statement backpiece of Frida Kahlo, and to go ahead with my theme of overcoming anxiety and self love.
Placket closeup. The buttons came off a card marked $0.17 for ten buttons. Vintage! And a great color match.
Front view of a jacket , made from a bought pattern, for a guest of a wedding . Fully lined, with covered buttons
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