For two decades, Tim Doud has been creating his Rodney paintings, bringing his forceful gaze to bear on his equally present model, who is often draped in materials and objects that force the viewer to confront cultural display rather than likeness. As Doud’s spouse, cultural theorist Edward Ingebretsen, has noted of this series, “one remembers that on bodies and fashion hang profiling.. . . We are as we dress, for better or worse.” Doud, who has been teaching at American University since 2003, made this portrait in Washington, D.C. He explains that the referents in American Prize mix high and low culture: “when I look at the painting, I think Kentucky Derby; someone else may think high fashion or maybe Grey Gardens. It’s an all-American painting.”
Posted in: Art
Tagged: 17th century
, Duchesse de Caderousse
, Elisabeth-Louise Vigée Le Brun
, Marie Gabrielle de Gramont
, Marin Marais
, Nelson-Atkins Museum of Art
, portrait painting
, Sonnerie de Ste. Geneviève du Mont-de-Paris from La Gamme
Marie Gabrielle de Gramont, Duchesse de Caderousse
Elisabeth-Louise Vigée Le Brun
Vigée Le Brun was one of the most popular portraitists of 18th-century Europe. Though her rapid rise to fame was both resisted and resented by jealous rivals, she became Painter to Queen Marie Antoinette of France, whom she first portrayed in 1778. This painting is one of a series of early masterpieces created by the artist in the decade prior to the Revolution. In terms of style and technique it is largely dependent on the example of the great Flemish artists of the 17th century, Rubens and Van Dyck, whose works Vigée Le Brun had studied in detail while traveling through the Low Countries in the early 1780s. The sitter's costume of red, black and white is based on that of the peasant women of Brittany--a precious affectation, on the part of a duchess, but one which was fashionable among the aristocracy at precisely this moment in French history. When the painting was first exhibited at the Salon of 1785, the Duchesse de Caderousse was an instant success with both critics and the public. One of the artist's most celebrated works, it remained in the possession of the sitter's descendants until November 1984.
The Valentine Dress
"Thu Nguyen’s landscape and portrait paintings are inspired by such artists as Thomas Eakins and Andrew Wyeth. She is especially interested in studying her subjects’ emotional states. In this portrait of her daughter, Nguyen depicts “the contrast between the stereotype of a carefree, sweet childhood with the reality of a life often filled with anxiety.” The girl is represented as being detached from her environment, and her rigid pose contrasts with the whimsical, heart-shaped patterns on her dress."
“This painting portrays the contrast between the stereotype of a carefree sweet childhood with the reality of a life often filled with anxiety, confusion and loneliness. While the girl is wearing a cute sentimental valentines dress, her entire posture is self contained and rigid. She is standing in a typical kitchen but seems physically and emotionally detached from her environment.” – Thu Nguyen