Joseph DeCamp Portraits

In a way, it's surprising that there were plenty of portrait artists plying their trade in the early decades of the twentieth century. After all, photography was well established by then, so the basic need for likenesses of people was adequately and economically served by that medium. But wealthy people were willing to commission portraits anyway. Several reasons for this can be proposed, including the comparative durability of oil and canvas, family or social tradition, matters of social prestige, and more.

The very best portrait artists gravitated to places where wealth and tradition were firmly in place -- Paris, London, New York City and Boston are prime examples. Joseph DeCamp (1858-1923) came from Cincinnati, studied under Frank Duveneck in Munich, but made his career in Boston. A short Wikipedia entry about him is here, and a more detailed biographical note can be found here. Apparently DeCamp painted many landscapes early in his career, but most of these were destroyed in a studio fire.

Besides painting commissioned portraits and teaching -- his main sources of professional income -- DeCamp created many paintings for his own purposes, many having beautiful women as the subject. They were often very good, as can be seen below.

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Theodore Roosevelt - 1908

In the Studio - 1890-95

Mrs Ernest Major - 1902-03

The Heliotrope Gown - 1905

The Guitar Player - 1908

The Blue Cup - 1909

The window Blind - 1921
My guess is that this was inspired by Vermeer; note the similar room arrangement.

The Blue Mandarin Coat - 1922

Jules Joseph Lefebvre: Godiva and Other Ladies

The large image above is of the huge "Lady Godiva" (1890) by Jules Joseph Lefebvre (1836-1911) that was displayed at, among other places, Paris' Grande Palais during the 1900 Exposition Universelle. It was recently restored, and now hangs in the Musée de Picardy in Amiens, according to this article (in French).

Lefebvre was a noted painter in his day, as this brief Wikipedia entry indicates. The link also contains a fairly long list of his works. For more biographical information, click here on the Art Renewal Center site. Included is an extensive list of Lefebvre's students, where one will find names such as Frank Benson, Childe Hassam, Fernand Khnopff and Edmund Tarbell.

Lefebvre was no slouch with his brush, having won the Prix de Rome early in his career. He favored pretty women subjects, as can be seen below.

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Graziella - 1878

Ophelia

Lauretta - 1895

Japonaise - 1882

Odalisque - 1874

Rokeby Venus - Velázquez - c. 1947-51
The variety of posing positions for the human body has limits, so some duplication (or near-duplication, in this case) can be expected. Yet the similarity between Lefebvre's and Velázquez's nudes struck me. I think the reason is the similarity in body builds as well as the general pose.

John Singer Sargent: Same Subject, Different Media

John Singer Sargent (1856-1925) probably needs no introduction to Art Contrarian readers. A painting of his that I would really like to see in person is the subject of the present post.

Fumée d'Ambre Gris - 1880It is part of the Sterling and Francine Clark Art Institute collection, whose description of it is here. Unfortunately for me, I seldom get to Massachusetts, so my chance of viewing the painting in person seems pretty slim. Yet I once spent more than four years in not-so-far-away Albany, New York -- but that was when I was still brainwashed by modernist propaganda and thought the Clark not worth visiting, if I had been aware of it at all.

Perhaps even more embarrassing, in recent times I was unaware that Sargent created some studies for it, including a watercolor now held at the Isabella Stewart Gardner Museum in Boston. I've visited the Gardner, but (once again!!) failed to notice it (that is, if it had actually been on display at the time).

Here it is:

Incensing the Veil - c. 1880
A rambling discourse on Sergent's painting and the substance ambergris is here, and some supporting images are here.

Logan Maxwell Hagege's Retro Deco Southwest

Do you have a soft spot for those 1920s vintage railroad posters from the likes of the Santa Fe and Southern Pacific railroads? I certainly do.

That also seems to be the case for Los Angeles based artist Logan Maxwell Hagege, who has made a great many paintings in the spirit of those posters. His web site is here, and a short biographical sketch here.

Hagege's images are carefully designed, often making use of profile views of his subjects (it can be easier to turn a profile into design elements than trying the same from, say, a three-quarter view). And since he returns often to the same subjects, viewing a large number of his paintings at once can cause a fall-off of interest. However (not having seen one of his paintings in person), I think having only one hanging in a suitable wall, might be quite nice for some of us retro fans.

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Striped Blanket

Above the Mountains

Light on the Round Clouds

The Storm Clears

Evening Song

Mesa Near Hopi Land

Images of Hagege at work

Édouard Detaille: War Artist of the Third Republic

Even though France was humiliated in the 1870-71 Franco-Prussian War, paintings featuring military subjects were popular in France during the early decades of the Third Republic. Perhaps the most prolific artist of that genre was Jean-Baptiste Édouard Detaille (1848-1912), who had a reputation for thorough research on details of uniforms, weapons and battles of both the Napoleonic era and 1870 and its aftermath. His Wikipedia entry is here.

Perhaps because he churned out so many drawings and paintings, a few being huge dioramas, I find them not usually satisfying as works of art. I mostly prefer the work of his contemporary, Alphonse de Neuville, who I wrote about here.

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Photo of Detaille at work
Here he is, dabbing away on a huge canvas. Many human figures, horses and other items to depict, and he probably didn't have the time to paint them with thought and care. Yet this sort of painting was what he was known for, so he kept making them.

Le rêve - 1888
This immense painting was on display at the Musée d'Orsay when I visited last September. It shows bivouacing contemporary (or 1870) French soldiers dreaming of the gloire of their Napoleonic forebears. Despite its size, it doesn't seem to have been as rushed as some of his other works, which is perhaps why the Orsay displayed it.

Charge de Mosbronn - 1870 war

The Charge at Friedland - 1894

La salu aux blessés - 1877
Saluting the wounded.

Mounted First Empire Dragoons

Hussar
I don't know if this was an elaborate sketch or a finished work. Regardless, as best I can tell from this digital image, it's nicely done. Apparently when he wasn't painting vast action scenes, Detaille was able to focus and show us what he was capable of.

Un officier des cuirassiers, fin 19eme
Another portrait of sorts, but a crowd of soldiers and horses manage to intrude as background.

Roy Doty, Charming Cartoonist

As of the time I'm drafting this post, Roy Doty (1922 - ) is still alive and presumably making cartoons and illustrations, something he has been doing at a top professional level since the late 1940s. Information about him can be found here, here, here and here.

The classic Doty style involves clean, thin lines punctuated by solid areas of black and/or other colors. Sometimes compositions are simple, yet others can be complicated crowd scenes.

I find it interesting that illustrators who cartoon seem to have career staying-power, especially if they have a distinctive style popular with viewers. This is compared to illustrators in general, who can become victims of their signature style when it goes out of fashion or else are forced to change styles to keep commissions coming.

Here is a Doty sampling.

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Promotional ad for Life Magazine - 1953

Autobiography - click to enlarge

Wordless Workshop - a comics series

In House Beautiful - 1949

Apparently from an Art Directors Club of New York annual

Frank Wootton's Poster Art

Frank Wootton (1911-1998) is best known for his aircraft and automobile paintings and illustrations, but he also painted landscapes and illustrated travel posters, among other projects. The main biographical information I found on the Web was this obituary from the Independent that incorrectly has his birth year as 1914.

Wootton's poster work was done in a nice, clear style that nevertheless included plenty of detail to add visual interest.  His posters for air travel tend to have compositions where the main subject matter is curiously peripheral. Well, maybe not so curious after all, because a tiny image of an airliner can be found in those big, otherwise blank skies.

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Wootton did a few posters for Britain's nationalized railway system after World War 2.

This is his painting for a poster titled "By Rail to Wales."

Below are some posters illustrated for BOAC, Britain's main international airline of the 1950s.

The poster immediately above is a personal favorite because I've always liked the way Wootton handled highlights on his automobile illustrations. The scene itself seems to be imaginary, an evocation of New York-ness from a foreign perspective. The cars are also imaginary, but suggestive of General Motors styling from around 1950. Wootton chose to portray American cars as being lower than they actually were in those days.

"The Cornish Wonder": John Opie

Joshua Reynolds dominated the English portrait painting scene in the 18th century, with Thomas Gainsborough as his most serious rival. That's my 21st century impression, anyhow.

But in those pre-photography days there was plenty of demand for portraits, and Reynolds and Gainsborough could not satisfy it by themselves. There were many other artists at work in that field, some competent, others not so much. One of the fairly competent ones was John Opie (1761-1807) who died young and was buried next to Reynolds in Westminster Abbey, a sign of the esteem he was held in his day.

I sheepishly admit that I was ignorant of Opie until I noticed a portrait by him that was used as the cover illustration for a book published by Barnes & Noble. So I did a little research, turning up biographical information here and here. I also discovered plenty of images of his works on the Internet, a few of which are presented below.

He tended to place his subjects against dark backgrounds, giving his portraits a dramatic quality that probably helped distract from the fact that his drawing was sometimes slightly flawed. That said, Opie was better than most of his competitors.

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Self-Portrait - 1785

Self-Portrait - 1805

The Murder of Rizzio - 1787

A Country Girl

Mary Wollstonecraft - c.1797

Elizabeth Searle as Miranda

Portrait of a Young Man

Amelia Opie - 1798