View allAll Photos Tagged portrait_design
Model www.instagram.com/_a.n.n.e.t._/
My account www.instagram.com/ph_kolomiichenko/
Lens: Helios 44m f 2.0
Boo-Ya!
This year's Christmas card. 5 portraits taken sequentially. bokeh letters are from large christmas lights against black seamless about 15 feet behind the subject
I cut out each 1/2" letter from black mat board and took a photo with each letter held up to the lens to create the bokeh of the lightbulbs then comped them in PS.
The different colors are from the different colors of lights.
Strobist: Each portrait was taken with an Olympus FL-36R at 1/16 in a 20" softbox at a slight camera right and high angle (center & far right photos flipped for composition in PS) and rim light with a gridded Vivitar 285 on low power directly behind subjects.
A few ideas on partially obscuring the identity of the interviewers (who are referred to in the project as simply #1, #2 etc).
Lady Elizabeth Delmé and Her Children
West Building, Main Floor—Gallery 59
•Date: 1777-1779
•Medium: Oil on Canvas
•Dimensions:
oOverall: 238.4 × 147.2 cm (93⅞ × 57 15/16 in.)
oFramed: 266.4 × 175.3 cm (104⅞ × 69 in.)
•Credit Line: Andrew W. Mellon Collection
•Accession Number: 1937.1.95
•Artists/Makers:
oArtist: Sir Joshua Reynolds, British, 1723-1792
Overview
Reynolds sought to elevate British painting, including portraiture, to the lofty realms of classical expression. After traveling to Rome, Florence, Bologna, and Venice, Reynolds became the first president of the Royal Academy, which had been founded in 1768. Through his teaching at the Academy and the publication of his annual lectures, the Discourses, he urged the adoption of grand classical values and the study of Greek and Roman sculpture and Renaissance painting.
In Lady Delmé, Reynolds created an image of idealized, majestic feminine grace that has many precedents in Renaissance art. The pyramidal composition of the sitters, Lady Delmé’s encircling arms and quiet manner, and the regal folds of the deep-rose drapery across her knees are reminiscent of Madonna and Child compositions by Raphael.
The rich, warm colors of the informal landscape and the beautifully controlled movement of light into the deep reaches of the background owe much to Titian. Finally, Reynolds’ sensitive use of everyday, intimate details prevents the portrait from becoming remote and unapproachable. The tenderness with which Lady Delmé holds her two children, the nuances of personality in the three faces, the realistic costumes of the young sitters, and the attentive posture of the Skye terrier give the painting a worldly, familiar context.
Provenance
Painted for the sitter’s husband, Peter Delmé [1748-1789], Titchfield Abbey, Hampshire; by descent to Seymour Robert Delmé, Cams Hall, Hampshire. Charles J. Wertheimer [1842-1911], London.[1] (Christie, Manson & Wood, London); purchased c. 1900-1901[2] by J. Pierpont Morgan, Sr. [1837-1913], New York; bequeathed to his daughter, Mrs. Robert L. Satterlee [d. 1946], who owned it until c. 1930. (Duveen Brothers, Inc., London and New York); sold 15 December 1936 to The A.W. Mellon Educational and Charitable Trust, Pittsburgh;[3] gift 1937 to NGA.
[1]Wertheimer’s name is in the list of former collections given for the painting on the Duveen Brothers invoice (see note 3).
[2]Connoisseur 3 (1901), 206, notes this portrait as recently sold to Pierpont Morgan
[3]The original Duveen Brothers invoice is in Gallery Archives, copy in NGA curatorial files.
Associated Names
•Christie, Manson & Woods, Ltd.
•Delmé, Peter
•Delmé, Seymour Robert
•Duveen Brothers, Inc.
•Mellon Educational and Charitable Trust, The A.W.
•Morgan, Sr., J. Pierpont
•Satterlee, Herbert L., Mrs.
•Wertheimer, Charles J.
Exhibition History
•1895—Works by the Old Masters, and by Deceased Masters of the British School, Winter Exhibition, Royal Academy of Arts, London, 1895, no. 130.
•1899—Loan Collection of Pictures and Drawings by J.M.W. Turner, R.A. and of a Selection of Pictures by Some of His Contemporaries, Corporation of London Art Gallery, 1899, no. 170.
•1908—Aedlre Engelsky Künst, Ny Carlsberg Glyptotek, Copenhagen, 1908, no. 29, repro.
•1908—Aelterer Englischer Kunst, Königliche Akademie der Künste, Berlin, 1908, no. 68 (souvenir volume, 73, repro.).
•1928—Fifteen Masters of the Eighteenth Century, Jacques Seligmann & Co., New York, 1928, no. 13.
•1937—Sir Joshua Reynolds, Sir Philip Sassoon’s, 45 Park Lane, London, 1937, no. 26 (souvenir, repro. 56).
Technical Summary
The light- to medium-weight canvas is twill woven; it has been double lined. The ground is not discernible through the discolored varnish and thick paint layers, but is probably white. The painting is richly executed in a complex of different layers and techniques. The lowest paint layer is gray; the middle layers are thickly applied, white in the lights, the drapery, and background, and dark in the tree trunks, foliage, and shadows; the final layers defining detail contain nonoil additives and include rich brown, red, and blue glazes in the foliage, sky, and landscape, and in parts of the figures. The painting seems to have been retouched and revarnished by Reynolds in 1789.[1] There are many shallow, overpainted losses throughout the painting. Broad craquelure marks most of the dark, rich browns, indicating the presence of bitumen. The varnish, which appears to be a natural resin, is difficult to distinguish from the final glazes and has discolored yellow to a significant degree.
[1]A newspaper report dated 19 September 1789 stated that this and some other portraits “which for many years have been lodged in his infirmary” now “by the help of fresh varnish and a few vivifying touches from his pencil, again claim our notice” (Graves and Cronin 1899-1901, 4: 1296).
Bibliography
•1865—Leslie, Charles Robert and Tom Taylor. Life and Times of Sir Joshua Reynolds. 2 vols. London, 1865: 2:202, 302.
•1899—Graves, Algernon and William Vine Cronin. A History of the Works of Sir Joshua Reynolds. 4 vols. London, 1899-1901: 1:241; 4:.
•1900—Armstrong, Sir Walter. Sir Joshua Reynolds. London, 1900: 202.
•1907—Roberts, William. Pictures in the Collection of J. Pierpont Morgan at Prince’s Gate & Dover House, London: English School. London, 1907: unpaginated.
•1941—Duveen Brothers. Duveen Pictures in Public Collections of America. New York, 1941: no. 264, repro., as Lady Betty Delmé and Children.
•1941—Preliminary Catalogue of Paintings and Sculpture. National Gallery of Art, Washington, 1941: 167, no. 95.
•1941—Waterhouse, Sir Ellis. Reynolds. London, 1941: 68, pl. 191.
•1942—Book of Illustrations. National Gallery of Art, Washington, 1942: 241, repro. 17.
•1949—Paintings and Sculpture from the Mellon Collection. National Gallery of Art, Washington, 1949 (reprinted 1953 and 1958): 106, repro.
•1952—Cairns, Huntington, and John Walker, eds., Great Paintings from the National Gallery of Art. New York, 1952: 134, color repro.
•1960—Cooke, Hereward Lester. British Painting in the National Gallery of Art. Washington, D.C., 1960 (Booklet Number Eight in Ten Schools of Painting in the National Gallery of Art, Washington, D.C.): 12, color repro.
•1963—Walker, John. National Gallery of Art, Washington, D.C. New York, 1963 (reprinted 1964 in French, German, and Spanish): 319, repro.
•1965—Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 113.
•1966—Cairns, Huntington, and John Walker, eds. A Pageant of Painting from the National Gallery of Art. 2 vols. New York, 1966: 2:350, color repro.
•1968—European Paintings and Sculpture, Illustrations. National Gallery of Art, Washington, 1968: 101, repro.
•1975—European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 302, repro.
•1975—Walker, John. National Gallery of Art, Washington. New York, 1975: no. 504, color repro.
•1984—Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 361, no. 502, color repro.
•1985—European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 348, repro.
•1992—Hayes, John. British Paintings of the Sixteenth through Nineteenth Centuries. The Collections of the National Gallery of Art Systematic Catalogue. Washington, D.C., 1992: 213-215, repro. 214.
•1992—National Gallery of Art. National Gallery of Art, Washington. New York, 1992: 149, repro.
•1999—Zuffi, Stefano and Francesca Castria, La peinture baroque. Translated from Italian by Silvia Bonucci and Claude Sophie Mazéas. Paris, 1999: 374, color repro.
•2004—Hand, John Oliver. National Gallery of Art: Master Paintings from the Collection. Washington and New York, 2004: 278-279, no. 225, color repro.
From British Paintings of the Sixteenth through Nineteenth Centuries:
1937.1.95 (95)
Lady Elizabeth Delmé and Her Children
•1777-1779
•Oil on Canvas, 239.2 × 147.8 (94⅛ × 58⅛)
•Andrew W. Mellon Collection
Technical Notes
The light- to medium-weight canvas is twill woven; it has been double lined. The ground is not discernible through the discolored varnish and thick paint layers, but is probably white. The painting is richly executed in a complex of different layers and techniques. The lowest paint layer is gray; the middle layers are thickly applied, white in the lights, the drapery, and background, and dark in the tree trunks, foliage, and shadows; the final layers defining detail contain nonoil additives and include rich brown, red, and blue glazes in the foliage, sky, and landscape, and in parts of the figures. The painting seems to have been retouched and revarnished by Reynolds in 1789.’ There are many shallow, overpainted losses throughout the painting. Broad craquelure marks most of the dark, rich browns, indicating the presence of bitumen. The varnish, which appears to be a natural resin, is difficult to distinguish from the final glazes and has discolored yellow to a significant degree.
Provenance
Painted for the sitter’s husband, Peter Delmé [1748-1789], Titchfield Abbey, Hampshire; by descent to Seymour Robert Delmé, Cams Hall, Hampshire (sale, Christie, Manson & Woods, London, 7 July 1894, no. 63), bought by (Charles J. Wertheimer), London, from whom it was purchasedc. 1900-19012 by J. Pierpont Morgan, Sr. [1837-1913], New York; bequeathed to his daughter, Mrs. Herbert L. Satterlee [d. 1946], who owned it until c. 1930. (Duveen Brothers), New York, who sold it 15 December 1936 to The A. W. Mellon Educational and Charitable Trust, Pittsburgh.
Exhibitions
Works by the Old M asters, and by Deceased Masters of the British School, Winter Exhibition, Royal Academy of Arts, London, 1895, no. 130. Loan Collection of Pictures and Drawings by J. M. W. Turner, R A. and of a Selection of Pictures by Some of His Contemporaries, Corporation of London Art Gallery, 1899, no. 170. Aeldre Engelsk Künst, Ny Csiúsberg Glyptotek, Copenhagen, 1908, no. 29, repro. Aelterer Englischer Kunst, Kónigliche Akademie der Klinste, Berlin, 1908, no. 68 (souvenir volume, 73, repro.). Fifteen M asters of the Eighteenth Century, Jacques Seligmann & Co., New York, 1928, no. 13. Sir Joshua Reynolds, Sir Philip Sassoon’s, 45 Park Lane, London, 1937, no. 26 (illustrated souvenir, repro. 56).
Lady Elizabeth Howard (1746-1813), third daughter of Henry, 4th Earl of Carlisle, married Peter Delmé in 1769 and, after his death in 1789, became the wife in 1794 of Captain Charles Gamier, R.N., who was drowned in 1796. Delmé, of wealthy Huguenot descent, was, through the influence of his wife’s family, M.P. for Morpeth from 1774 to 1789. He inherited Titchfield Abbey (demolished 1781) and in 1771 built Cams Hall, Fareham, Hampshire, a few miles away. Their two eldest children, Isabella Elizabeth (d. I794)3 and John (1772-1809), are depicted on the right and in the center of the portrait respectively. The couple had three other children, all sons, born in 1774,1775, and at a date unknown.
Lady Elizabeth sat to Reynolds in April 1777.4 A sitting in June 1780, canceled on account of the Gordon riots,5 seems unlikely to have been connected with any change to this portrait, by then finished and engraved. In June 1777 there were two sittings for “Master Delmé” and the “Delmé Children. “6 Payment was made in June 1780, when Reynolds recorded in his account book the receipt of three hundred pounds.7
The picture is one of Reynolds’ noblest and most successful family portraits. The design is pyramidal and, although Lady Elizabeth is looking out at the spectator rather than at her children, it is strongly reminiscent of such Raphael Madonnas with the Christ Child and Saint John as the Madonna in the Meadow. The chiaroscuro is carefully contrived, and the swathes of drapery over Lady Elizabeth’s knees, influenced in their elaboration by Bolognese seventeenth-century painting, give the composition a rhythmic sense of movement. The beech trees that support the figure group are more massive than was customary with Reynolds; these trees, suggestive of the canopy behind a Madonna in an Italian altarpiece, together with the Titianesque vista on the right, add to the impression of a work deliberately painted in emulation of the Old Masters. Lady Elizabeth’s hair, high piled with a scarf intertwined and a ringlet falling over the right shoulder, is dressed in the height of fashion, and her two children are wearing contemporary dress. The intimate naturalism with which Reynolds has painted the children and their terrier serves as a perfect foil to his idealized representation of Lady Elizabeth, personifying the adult world, and to the high seriousness of the work as a whole.
A mezzotint by Valentine Green was published by him on 1 July 1779 and another, by Samuel William Reynolds, is undated.
Notes
1.A newspaper report dated 19 September 1789 stated that this and some other portraits “which for many years have been lodged in his infirmary” now “by the help of fresh varnish and a few vivifying touches from his pencil, again claim our notice” (Graves and Cronin 1899-1901, 4:1296).
2.Conn 3 (1901), 206, notes this portrait as recently sold to Pierpont Morgan.
3.Isabella’s birth date is not known, but, on the assumption that the child on the right of the picture is a girl, she must have been the eldest child, born in 1770 or 1771.
4.Leslie and Taylor 1865 (see biography), 2:202.
5.The entry is struck through in Reynolds’ sitter book.
6.Graves and Cronin 1899-1901 (see biography), 4:1544-1545-7. Malcolm Cormack, “The Ledgers of Sir Joshua Reynolds,” The Walpole Society 42(1970’), 150.
References
•1865—Leslie and Taylor 1865, 2:202,302.
•1899—Graves and Cronin 1899, 1:241; 4:1296,1544-1545.
•1900—Armstrong, Sir Walter. Sir Joshua Reynolds. London, 1900:202.
•1907—Roberts, William. Pictures in the Collection of J. Pierpont M organ at Prince’s Gate & Dover House, London: English School. London, 1907: unpaginated.
•1941—Duveen Pictures in Public Collections of America. New York, 1941: no. 264, repro.
•1941—Waterhouse 1941: 68, pi. 191.
•1949—Mellon 1949: no. 95, repro.106.
•1976—Walker 1976: no. 504, color repro.
•1990—Shawe-Taylor, Desmond. The Georgians: Eighteenth-Century Portraiture and Society. London,1990: 192-193, color fig. 127.
Lady Elizabeth Delmé and Her Children
West Building, Main Floor—Gallery 59
•Date: 1777-1779
•Medium: Oil on Canvas
•Dimensions:
oOverall: 238.4 × 147.2 cm (93⅞ × 57 15/16 in.)
oFramed: 266.4 × 175.3 cm (104⅞ × 69 in.)
•Credit Line: Andrew W. Mellon Collection
•Accession Number: 1937.1.95
•Artists/Makers:
oArtist: Sir Joshua Reynolds, British, 1723-1792
Overview
Reynolds sought to elevate British painting, including portraiture, to the lofty realms of classical expression. After traveling to Rome, Florence, Bologna, and Venice, Reynolds became the first president of the Royal Academy, which had been founded in 1768. Through his teaching at the Academy and the publication of his annual lectures, the Discourses, he urged the adoption of grand classical values and the study of Greek and Roman sculpture and Renaissance painting.
In Lady Delmé, Reynolds created an image of idealized, majestic feminine grace that has many precedents in Renaissance art. The pyramidal composition of the sitters, Lady Delmé’s encircling arms and quiet manner, and the regal folds of the deep-rose drapery across her knees are reminiscent of Madonna and Child compositions by Raphael.
The rich, warm colors of the informal landscape and the beautifully controlled movement of light into the deep reaches of the background owe much to Titian. Finally, Reynolds’ sensitive use of everyday, intimate details prevents the portrait from becoming remote and unapproachable. The tenderness with which Lady Delmé holds her two children, the nuances of personality in the three faces, the realistic costumes of the young sitters, and the attentive posture of the Skye terrier give the painting a worldly, familiar context.
Provenance
Painted for the sitter’s husband, Peter Delmé [1748-1789], Titchfield Abbey, Hampshire; by descent to Seymour Robert Delmé, Cams Hall, Hampshire. Charles J. Wertheimer [1842-1911], London.[1] (Christie, Manson & Wood, London); purchased c. 1900-1901[2] by J. Pierpont Morgan, Sr. [1837-1913], New York; bequeathed to his daughter, Mrs. Robert L. Satterlee [d. 1946], who owned it until c. 1930. (Duveen Brothers, Inc., London and New York); sold 15 December 1936 to The A.W. Mellon Educational and Charitable Trust, Pittsburgh;[3] gift 1937 to NGA.
[1]Wertheimer’s name is in the list of former collections given for the painting on the Duveen Brothers invoice (see note 3).
[2]Connoisseur 3 (1901), 206, notes this portrait as recently sold to Pierpont Morgan
[3]The original Duveen Brothers invoice is in Gallery Archives, copy in NGA curatorial files.
Associated Names
•Christie, Manson & Woods, Ltd.
•Delmé, Peter
•Delmé, Seymour Robert
•Duveen Brothers, Inc.
•Mellon Educational and Charitable Trust, The A.W.
•Morgan, Sr., J. Pierpont
•Satterlee, Herbert L., Mrs.
•Wertheimer, Charles J.
Exhibition History
•1895—Works by the Old Masters, and by Deceased Masters of the British School, Winter Exhibition, Royal Academy of Arts, London, 1895, no. 130.
•1899—Loan Collection of Pictures and Drawings by J.M.W. Turner, R.A. and of a Selection of Pictures by Some of His Contemporaries, Corporation of London Art Gallery, 1899, no. 170.
•1908—Aedlre Engelsky Künst, Ny Carlsberg Glyptotek, Copenhagen, 1908, no. 29, repro.
•1908—Aelterer Englischer Kunst, Königliche Akademie der Künste, Berlin, 1908, no. 68 (souvenir volume, 73, repro.).
•1928—Fifteen Masters of the Eighteenth Century, Jacques Seligmann & Co., New York, 1928, no. 13.
•1937—Sir Joshua Reynolds, Sir Philip Sassoon’s, 45 Park Lane, London, 1937, no. 26 (souvenir, repro. 56).
Technical Summary
The light- to medium-weight canvas is twill woven; it has been double lined. The ground is not discernible through the discolored varnish and thick paint layers, but is probably white. The painting is richly executed in a complex of different layers and techniques. The lowest paint layer is gray; the middle layers are thickly applied, white in the lights, the drapery, and background, and dark in the tree trunks, foliage, and shadows; the final layers defining detail contain nonoil additives and include rich brown, red, and blue glazes in the foliage, sky, and landscape, and in parts of the figures. The painting seems to have been retouched and revarnished by Reynolds in 1789.[1] There are many shallow, overpainted losses throughout the painting. Broad craquelure marks most of the dark, rich browns, indicating the presence of bitumen. The varnish, which appears to be a natural resin, is difficult to distinguish from the final glazes and has discolored yellow to a significant degree.
[1]A newspaper report dated 19 September 1789 stated that this and some other portraits “which for many years have been lodged in his infirmary” now “by the help of fresh varnish and a few vivifying touches from his pencil, again claim our notice” (Graves and Cronin 1899-1901, 4: 1296).
Bibliography
•1865—Leslie, Charles Robert and Tom Taylor. Life and Times of Sir Joshua Reynolds. 2 vols. London, 1865: 2:202, 302.
•1899—Graves, Algernon and William Vine Cronin. A History of the Works of Sir Joshua Reynolds. 4 vols. London, 1899-1901: 1:241; 4:.
•1900—Armstrong, Sir Walter. Sir Joshua Reynolds. London, 1900: 202.
•1907—Roberts, William. Pictures in the Collection of J. Pierpont Morgan at Prince’s Gate & Dover House, London: English School. London, 1907: unpaginated.
•1941—Duveen Brothers. Duveen Pictures in Public Collections of America. New York, 1941: no. 264, repro., as Lady Betty Delmé and Children.
•1941—Preliminary Catalogue of Paintings and Sculpture. National Gallery of Art, Washington, 1941: 167, no. 95.
•1941—Waterhouse, Sir Ellis. Reynolds. London, 1941: 68, pl. 191.
•1942—Book of Illustrations. National Gallery of Art, Washington, 1942: 241, repro. 17.
•1949—Paintings and Sculpture from the Mellon Collection. National Gallery of Art, Washington, 1949 (reprinted 1953 and 1958): 106, repro.
•1952—Cairns, Huntington, and John Walker, eds., Great Paintings from the National Gallery of Art. New York, 1952: 134, color repro.
•1960—Cooke, Hereward Lester. British Painting in the National Gallery of Art. Washington, D.C., 1960 (Booklet Number Eight in Ten Schools of Painting in the National Gallery of Art, Washington, D.C.): 12, color repro.
•1963—Walker, John. National Gallery of Art, Washington, D.C. New York, 1963 (reprinted 1964 in French, German, and Spanish): 319, repro.
•1965—Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 113.
•1966—Cairns, Huntington, and John Walker, eds. A Pageant of Painting from the National Gallery of Art. 2 vols. New York, 1966: 2:350, color repro.
•1968—European Paintings and Sculpture, Illustrations. National Gallery of Art, Washington, 1968: 101, repro.
•1975—European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 302, repro.
•1975—Walker, John. National Gallery of Art, Washington. New York, 1975: no. 504, color repro.
•1984—Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 361, no. 502, color repro.
•1985—European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 348, repro.
•1992—Hayes, John. British Paintings of the Sixteenth through Nineteenth Centuries. The Collections of the National Gallery of Art Systematic Catalogue. Washington, D.C., 1992: 213-215, repro. 214.
•1992—National Gallery of Art. National Gallery of Art, Washington. New York, 1992: 149, repro.
•1999—Zuffi, Stefano and Francesca Castria, La peinture baroque. Translated from Italian by Silvia Bonucci and Claude Sophie Mazéas. Paris, 1999: 374, color repro.
•2004—Hand, John Oliver. National Gallery of Art: Master Paintings from the Collection. Washington and New York, 2004: 278-279, no. 225, color repro.
From British Paintings of the Sixteenth through Nineteenth Centuries:
1937.1.95 (95)
Lady Elizabeth Delmé and Her Children
•1777-1779
•Oil on Canvas, 239.2 × 147.8 (94⅛ × 58⅛)
•Andrew W. Mellon Collection
Technical Notes
The light- to medium-weight canvas is twill woven; it has been double lined. The ground is not discernible through the discolored varnish and thick paint layers, but is probably white. The painting is richly executed in a complex of different layers and techniques. The lowest paint layer is gray; the middle layers are thickly applied, white in the lights, the drapery, and background, and dark in the tree trunks, foliage, and shadows; the final layers defining detail contain nonoil additives and include rich brown, red, and blue glazes in the foliage, sky, and landscape, and in parts of the figures. The painting seems to have been retouched and revarnished by Reynolds in 1789.’ There are many shallow, overpainted losses throughout the painting. Broad craquelure marks most of the dark, rich browns, indicating the presence of bitumen. The varnish, which appears to be a natural resin, is difficult to distinguish from the final glazes and has discolored yellow to a significant degree.
Provenance
Painted for the sitter’s husband, Peter Delmé [1748-1789], Titchfield Abbey, Hampshire; by descent to Seymour Robert Delmé, Cams Hall, Hampshire (sale, Christie, Manson & Woods, London, 7 July 1894, no. 63), bought by (Charles J. Wertheimer), London, from whom it was purchasedc. 1900-19012 by J. Pierpont Morgan, Sr. [1837-1913], New York; bequeathed to his daughter, Mrs. Herbert L. Satterlee [d. 1946], who owned it until c. 1930. (Duveen Brothers), New York, who sold it 15 December 1936 to The A. W. Mellon Educational and Charitable Trust, Pittsburgh.
Exhibitions
Works by the Old M asters, and by Deceased Masters of the British School, Winter Exhibition, Royal Academy of Arts, London, 1895, no. 130. Loan Collection of Pictures and Drawings by J. M. W. Turner, R A. and of a Selection of Pictures by Some of His Contemporaries, Corporation of London Art Gallery, 1899, no. 170. Aeldre Engelsk Künst, Ny Csiúsberg Glyptotek, Copenhagen, 1908, no. 29, repro. Aelterer Englischer Kunst, Kónigliche Akademie der Klinste, Berlin, 1908, no. 68 (souvenir volume, 73, repro.). Fifteen M asters of the Eighteenth Century, Jacques Seligmann & Co., New York, 1928, no. 13. Sir Joshua Reynolds, Sir Philip Sassoon’s, 45 Park Lane, London, 1937, no. 26 (illustrated souvenir, repro. 56).
Lady Elizabeth Howard (1746-1813), third daughter of Henry, 4th Earl of Carlisle, married Peter Delmé in 1769 and, after his death in 1789, became the wife in 1794 of Captain Charles Gamier, R.N., who was drowned in 1796. Delmé, of wealthy Huguenot descent, was, through the influence of his wife’s family, M.P. for Morpeth from 1774 to 1789. He inherited Titchfield Abbey (demolished 1781) and in 1771 built Cams Hall, Fareham, Hampshire, a few miles away. Their two eldest children, Isabella Elizabeth (d. I794)3 and John (1772-1809), are depicted on the right and in the center of the portrait respectively. The couple had three other children, all sons, born in 1774,1775, and at a date unknown.
Lady Elizabeth sat to Reynolds in April 1777.4 A sitting in June 1780, canceled on account of the Gordon riots,5 seems unlikely to have been connected with any change to this portrait, by then finished and engraved. In June 1777 there were two sittings for “Master Delmé” and the “Delmé Children. “6 Payment was made in June 1780, when Reynolds recorded in his account book the receipt of three hundred pounds.7
The picture is one of Reynolds’ noblest and most successful family portraits. The design is pyramidal and, although Lady Elizabeth is looking out at the spectator rather than at her children, it is strongly reminiscent of such Raphael Madonnas with the Christ Child and Saint John as the Madonna in the Meadow. The chiaroscuro is carefully contrived, and the swathes of drapery over Lady Elizabeth’s knees, influenced in their elaboration by Bolognese seventeenth-century painting, give the composition a rhythmic sense of movement. The beech trees that support the figure group are more massive than was customary with Reynolds; these trees, suggestive of the canopy behind a Madonna in an Italian altarpiece, together with the Titianesque vista on the right, add to the impression of a work deliberately painted in emulation of the Old Masters. Lady Elizabeth’s hair, high piled with a scarf intertwined and a ringlet falling over the right shoulder, is dressed in the height of fashion, and her two children are wearing contemporary dress. The intimate naturalism with which Reynolds has painted the children and their terrier serves as a perfect foil to his idealized representation of Lady Elizabeth, personifying the adult world, and to the high seriousness of the work as a whole.
A mezzotint by Valentine Green was published by him on 1 July 1779 and another, by Samuel William Reynolds, is undated.
Notes
1.A newspaper report dated 19 September 1789 stated that this and some other portraits “which for many years have been lodged in his infirmary” now “by the help of fresh varnish and a few vivifying touches from his pencil, again claim our notice” (Graves and Cronin 1899-1901, 4:1296).
2.Conn 3 (1901), 206, notes this portrait as recently sold to Pierpont Morgan.
3.Isabella’s birth date is not known, but, on the assumption that the child on the right of the picture is a girl, she must have been the eldest child, born in 1770 or 1771.
4.Leslie and Taylor 1865 (see biography), 2:202.
5.The entry is struck through in Reynolds’ sitter book.
6.Graves and Cronin 1899-1901 (see biography), 4:1544-1545-7. Malcolm Cormack, “The Ledgers of Sir Joshua Reynolds,” The Walpole Society 42(1970’), 150.
References
•1865—Leslie and Taylor 1865, 2:202,302.
•1899—Graves and Cronin 1899, 1:241; 4:1296,1544-1545.
•1900—Armstrong, Sir Walter. Sir Joshua Reynolds. London, 1900:202.
•1907—Roberts, William. Pictures in the Collection of J. Pierpont M organ at Prince’s Gate & Dover House, London: English School. London, 1907: unpaginated.
•1941—Duveen Pictures in Public Collections of America. New York, 1941: no. 264, repro.
•1941—Waterhouse 1941: 68, pi. 191.
•1949—Mellon 1949: no. 95, repro.106.
•1976—Walker 1976: no. 504, color repro.
•1990—Shawe-Taylor, Desmond. The Georgians: Eighteenth-Century Portraiture and Society. London,1990: 192-193, color fig. 127.
Charlie is a male American Kestrel. Background story: A retired California wildlife biologist is camping on the loop. She lives in her camper with 3 dogs and Charlie, her falconry American Kestrel, who is very willing to cooperate for photos. He would not fly for me because he wasn't hungry. I am going back for flight shots! Ajo, Arizona, USA. 12 January 2016. Yesterday, a roadrunner attacked him and Jan had to run after it to get Charlie out
2024-25: Expert merit award out of 4056 entries in Photocrowd 'Birds of Prey' in September 2024.
2023-24: Judge highly commended out of 1000 entries in Photocrowd 'Colorful Birds' June 2024.
2016-17: Placed 3rd in RPC 2nd in-club, Animals category (spring 2017, Advanced level).
2017-18: Judge commended and placed 12th (crowd top 10%) out of 500 photos in Photocrowd's 'Almost Anything Beginning with the Letter K' contest in March 2018 Placed 172nd (crowd top 10%) out of 1901 photos in Photocrowd's 'Bird Faces' contest in April 2018. Placed 216th (top 26%) out of 846 photos in Photocrowd's 'Colorful Wildlife' contest in May 2018.
Not.
This is the cover for my book, MY BEDROOM JOCKEYS which I have been working on for 8 years, shooting the great faces and athletes of the NYC (mostly) jockey colony. I hope someday to have it published. There is nothing like it.
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Midnight Moment: Jason Akira Somma, Times_Square_Analog_Portrait
June 1, 2019 – June 30, 2019
every night from 11:57pm-midnight
Jason Akira Somma is a filmmaker and choreographer who investigates how we experience, process, and participate in the cultural systems that surround us. Times_Square_Analog_Portrait is a conceptual portrait of one of the most distinctive aspects of the neighborhood: the spectacular electronic billboards that display advertisements — and the Midnight Moment program itself. The work is part of Somma’s series of institutional portraits designed to reflect the environment of the presenting institution or platform. Somma created Times_Square_Analog_Portrait from footage of the electronic billboards, video feedback enlivened with hand-operated camera movements, and signal manipulation using electromagnetic and light frequency information he recorded in Times Square on custom analog devices.
#Retratosinmediatos #fotografosvenezolanos #fotografosvenezuela #retratosvzla #retratos #portrait #portraiture #portraitlove #portraits_ig #portraitshoot #portaventura #portraitkillers #portrait_ig #portraitmood #portraitart #portraitoftheday #moodyports #mad_portraits #aov #aovportraits #artofvisuals #portrait_design #portraitmode #portraitimagine #portraitdrawing #portraitsociety
#gramskilla #photographysouls #photographyislife
A shoot I did for Jolene for her senior clothing design portfolio. Jolene is the pretty blonde and Michelle is her fellow designer friend who modeled one of the dresses for us.
Check out more information here:
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