Portrait of Richard Gallo
Oil on canvas (1881)
Richard Gallo, a close friend of Gustave Caillebotte and editor of the liberal newspaper Le Constitutionnel, is shown with his arms folded defiantly across his chest and a copy of the conservative rival paper, Le Figaro, on his lap. Caillebotte developed a distinctive style characterized by spatial distortions that often suggest the mood or psychology of his subjects.
Depictions of modern Parisian life, whether on the streets or inside middle-class homes, dominated Caillebotte’s paintings of the 1870s and early 1880s.
Jo, the Beautiful Irish Woman
Oil on canvas (1866)
"This canvas celebrates Gustave Courbet’s feeling for his subject Jo Hiffernan, whom he affectionately called “the beautiful Irish woman.” He painted the portrait shortly after meeting Hiffernan, the studio model and mistress of the American painter James McNeill Whistler, during the summer of 1865. As the composition was incredibly popular with Courbet’s middle-class patrons, he painted four almost identical versions around 1866, including this one. He kept one of the portraits until his death, making copies from it upon request."
Family Portrait in a Landscape
Gonzales Coques developed a portrait style that combined the intimacy of a small-scale painting with the grandeur of court portraiture. Here, this family displays their wealth by posing in a garden setting decorated with ornamental features taken from the artist’s repertoire of stock accessories. The black groom leading a horse does not necessarily represent an actual person, but would have been perceived at the time as an “exotic” status symbol. Artists regularly inserted African youths into portraits even when their sitters did not retain black servants in their households.
Portrait of Emily St. Clare as a Bacchante
In this portrait, Emily St. Clare invites the viewer into the world of a bacchante, or follower of Bacchus, the Roman god of wine. Intoxicated by her beauty, St. Clare was the mistress of Sir John Fleming Leicester, who commissioned this and at least 13 other portraits of her from fashionable British artists.
John Hoppner was known for his restrained, formal portraits. Here, however, in striving to fulfill Leicester’s desires, Hoppner conveyed St. Clare’s youthfulness and exuberance through dynamic brushwork, flowing draperies, and an alluring smile.
Portrait #138 (David Hockney)
"For many years, Brenda Zlamany has painted portraits of other artists, including Chuck Close, Alex Katz, and David Hockney. She has also been a subject for them; as she puts it, “we are professional posers.” Recently, however, she has worked to paint portraits of those whose gaze is more internal—monks and nomads in Tibet, aboriginal people in Taiwan—creating large bodies of portraits that investigate the limits of the genre. She returned, with her daughter, to Hockney’s studio in 2014, not only to sit for him but to paint him once again. Her practice involves the long sittings and intense looking required of traditional portrait-making. The result captures Hockney’s warmth as well as his intense gaze, surrounded by the energetic foliage of his Los Angeles home."
I Love Your Hair
"Moving from western Canada to Brooklyn in the early 1990s was a transformative experience for Tim Okamura. He found himself “dropped down right in the heart, the birthplace of hip hop.” In New York City he found new subjects and refined his aesthetic mixture of realism and collage, spray paint and mixed media, to reference both narrative and the urban language of graffiti. His large portraits seek to capture an urban scene as well as aspects of social and personal identity."
"Amy Sherald (born 1973) is an American painter based in Baltimore, Maryland. Her work started out autobiographical in nature, but has taken on a social context ever since she moved to Baltimore. She is best known for her portrait paintings that address social justice, as well as her choice of subjects, which are drawn from outside of the art historical narrative. Through her work, she takes a closer look at t the way people construct and perform their identities in response to political, social, and cultural expectations.”
Interview with Amy Sherald, winner of first prize at “The Outwin Boochever 2016” for her painting: “Miss Everything (Unsuppressed Deliverance).”