What makes a good artists’ model a good model? An aspect or mood of the model speaking to an aspect or mood of the artist? And what’s in the model’s head or heart matters more than any physical forms, however unclothed? Not to ignore the advantages of bad models and bad moods! Short text accompanied by images from William Eaton’s drawings, and with a closing text adapted from Rilke (on the marriage of model and artist?).
Comments and translation regarding the renaming of Marie-Guillemine Benoist’s “Portrait d’une négresse”, a.k.a. “Portrait de Madeleine.” This as regards the show “Le modèle noir de Géricault à Matisse” (Musée d’Orsay), earlier known as “Posing Modernity: The Black Model from Manet and Matisse to Today.” The comments also touch on Degas’s “Petite Danseuse” and work by Thomas Eakins, Francis Bacon and Lucian Freud, and the piece includes charcoal drawings by William Eaton.
Colorful portrait of a nicely-hatted woman in an outdoor café. Complete with a short commentary that quotes from the subject of one of Thomas Eakins’s greatest paintings: Miss Alice Kurtz. (The portrait, however, owes more to Degas, Lautrec and nineteenth-century Paris than to Eakins and early twentieth-century Philadelphia.)