Portraying Identity Exhibition Guide
August 29th-November 29th, 2024
PortrayingIdentity
August29th-November29th
Exploretheintricateportrayalsofidentityinourfallexhibitions,whereartservesasamirror reflectingbothself-perceptionandthewayweviewothers.Featuringworksfromrenownedand unknownartistsalike,thesepaintings,prints,photographs,andsculpturescaptureadiverserange ofsubjects—richandpoor,youngandold—eachtellingauniquestory.Asyouengagewitheach piece,considernotonlytheidentityofthesitterbutalsohowtheseworksresonatewithyourown experiencesandthesharedhumanityweallpossess.Throughthesepowerfuldepictions,connect withboththeindividualstoriespresentedandthebroaderdialogueonhowwerelatetoourselves andothers.
FromtheevocativepiecessourcedfromtheCincinnatiMuseumofArt,totheintimateselections fromEdwardKhodorkovsky'sprivatecollectionandtheDenisonMuseum,immerseyourselfinthe diverseinterpretationsofhowweperceiveanddepictindividualsacrossculturesandcontinents, delvingintotheessenceofwhatitmeanstocaptureapersoninart.Experienceaglobaldialogueon identitythroughthelensofcreativityandexpression.
TheDenisonMuseumextendsaspecialthankstotheCincinnatiArtMuseumandEdward Khodorkovsky/AmericanFundforUkrainianReconstructionfortheirgenerousloans.
DenisonMuseumInterns:
NoraBlount’25
TrangBui’25
EvaColeman’24
EmilyHarris’24
MeredithKlinzing’26
EliLishack’26
AllieMohn’24
IsabelleMonyak’24
AnaPineda’26
ElizabethNourse,(American,1860–1938)
HeadofaGirl,ca.1882 Oiloncanvasmountedonacademyboard 1811/16×161/8in.
CourtesyoftheCincinnatiArtMuseum,GiftofHarleyI.Procter,1924.490
Bornin1860outsideCincinnati,ElizabethNoursewouldbecomeoneofthemostrenownedfemale artistsofherday.NourseworkedasapainterinCincinnati,whereshecreated“HeadofGirl,”before movingtoParisin1887toparticipateinthesurgingartmovementthere.Nourselivedprimarily withheroldersisterandmadeherlivingasanartist.Herpreferredsubjectsdepictedeveryday peopleamidstrurallandscapes,athemeexemplifiedin"HeadofGirl."
Asafemaleartist,Nourseconfrontednumerousobstaclesonherpathtorecognition.Inanera dominatedbymale-centricartcirclesandharshcritics,femalepainterslikeNoursewereoften marginalized,dismissedasmere"Sundaypainters"expectedtoprioritizemarriageorteaching careersovertheirartisticpursuits.ElizabethNoursecombatedthisbyrelyingonthefullsupportof herfamilyandforminganextendedaudienceoffemalefriendswhoboughtandshowedherwork, allowinghertogainthesupportofbecomingoneoftheonlyinternationallyrecognizedfemale artists.
NoraBlount‘26
EvaColeman‘24
ElizabethNourseandhertwinsister,Adelaide,weretheyoungestof10childrenbornin1859toCaleband ElizabethRogersNourse.ThetwinsattendedtheMcMickenSchoolofDesignattheUniversityofCincinnati, whicho eredfreetuitiontoallqualifiedresidents.Whileattheschool,Elizabethstudieddrawing,painting, woodcarving,chinapainting,andengraving.Aftergraduatingin1881,shecontinuedherstudiesfortwomore years,takinglifedrawingclasses.
In1881,NoursedeclinedateachingpositionattheSchoolofDesign,determinedtopursueacareerasa professionalartist.Shedevelopedherownstyle,characterizedbyarealismthatemphasizedthestrengthof hersubjectmatter.Herpreferredthemesincludedpeasantsubjects,whichwerepopularamongSalon painters,andreflectedherearlierfocusonthesimpledailyroutinesofruralfolkintheMidwest—particularly womenatwork,portraitsofAfricanAmericanwomen,womenandchildren,andcountrylandscapes.Her stylerepresentedthereactionofyoung,modernartistsagainsttheoldergeneration.
InAugust1887,aftersavingmoneywithhersistersAdelaideandLouise,thetriomovedtoParistofurther Elizabeth'sstudies.There,NourseenrolledattheAcadémieJulian,whereshewasadvisedafteronlythree monthsthatsheneedednofurtherinstruction.Shesoonbeganworkonherpainting LaMère forthespring Salon.Thepiecewasnotonlyacceptedbythejurybutalsohungateyelevel,anhonorforanunknown artist—apromisingstartfortheyoungCincinnatianinParis.
Earlyinhercareer,Elizabethwasconcernedaboutthemisogynyintheartworldandinitiallysignedher workas"E.Nourse."However,by1892,shebegansigningherfullnameonherSalonentries,andby1904,this becameherstandardsignature.TheNoursesistersusedParisastheirbaseforseveralyearsbuttraveledto Russiain1889,Italyin1890-91,Hollandin1892,andTunisiain1897.TheyreturnedtoCincinnationlyonce, whenAdelaidebecameill.AfterAdelaidepassedawayin1893,onlyLouiseandElizabethremainedfromtheir immediatefamily,andtheydecidedtomakeParistheirpermanenthome.
Noursecontinuedtopaintstraightforwardportraitsofordinarypeasants,focusingontheinterplayoflight andshadowinbothherwatercolorsandoilpaintings.Sheoftendepicteddistinctivefeaturesofhersubjects, suchastheweatheredhandsofmotherscontrastedwiththetenderskinoftheirchildren.Thoughdealers urgedhertopaint"somethingprettythatwouldsell"ratherthan"uglypeasants,"Nourserefused,believing therewasbeautyinthecommonplaceandthatshecouldnotpaintwhatdidnotappealtoher.
NoursewasatthepeakofhercareerwhentheGermansinvadedBelgiumin1914,markingtheendoftheart worldassheknewit.In1920,sheunderwentsurgeryforbreastcancer,temporarilyhaltingherpainting.By 1924,atagesixty-five,shestoppedexhibitingherwork,bringinganendtoherforty-four-yearcareer. ElizabethNoursediedonOctober8,1938,andwasburiedbesidehersisterLouise,whohaddiedin1927.
(InformationreceivedfromQueenCityHeritageVolume41Number1Spring1982edition.ThearticlebyMary AliceHeekinBurkewastitled eRediscoveryofElizabethNourse)
(Russian/French,1869-1939)
PortraitofKiraVerkhovetskaya, 1928 PastelonPaper
InscribedinRussiananddated26October1928 14x10.4in.
CourtesyofEdwardKhodorkovsky/AFUR
KonstantinAndreevichSomov(1869-1939)wasborninSaintPetersburg,Russia,intoanartisticand culturedfamily.Hisfather,anarthistorianandcuratorattheHermitageMuseum,andhismother,a noblewomanwithapassionformusic,theater,dancing,andpainting,nurturedhisloveforthearts fromayoungage.In1888,SomovenrolledattheImperialAcademyofArts,wherehestudiedunder therenownedartistIlyaRepinfornineyears.Beforegraduatingin1897,Somovspenttwowintersin Paris,whichhelaterdescribedasthehappiestdaysofhislife.
In1899,Somovco-founded Miriskusstva (WorldofArt),aRussianmagazineandartmovementthat gainedsignificantrecognition.By1910,hehadestablishedhimselfasasuccessfulpainter.Following theRussianRevolution,SomovmovedtoParisin1923,joiningagroupofacclaimedRussianartists. InParis,hisworkbecamemoreerotic,andheisbelievedtohaveembracedhishomosexuality throughhisart,oftenpaintingBorisSnezhkovsky,ayoungboxerrumoredtobehispartner.The subjectofthisparticularpainting,KiraVerkhovetskaya,wasafamilyfriendofSomov's.Inaletter datedOctober26,1928,Somovwrote,“DuringthedayandintheeveninglightIdrew.Itwassitting withmynewvictim,Kira,whoreadilyagreedtopose.”
IsabelleMonyak‘24
KätheKollwitz,(German,1867-1945)
Etching
DU2006.2.36
GiftofDeanHansell’74
KätheKollwitzwasaGermanexpressionistwhoseworksprofoundlycapturehumansu ering,often reflectingthedramaticimpactofwaronherlife.Deeplya ectedbythelossofhersonduringWorld WarI,Kollwitzusedherarttoconveyhergriefandcontinuedtocreateevenduringtheriseofthe Nazis,wholabeledheradegenerateartist.Sheisrememberedforhermasterfulexpressionof emotionandherfocusonthestrugglesofwomenandtheworkingclass.
Throughoutherlife,Kollwitzproducednumerousself-portraits,knownfortheirrawandunfiltered depictions.Her Selbstbildnis,aself-portraitfrom1921,powerfullyportraysherintheaftermathof WorldWarI,aperiodmarkedbydeepdepressionoverthelossofhersontothewar.
NoraBlount‘26
EvaColeman‘24
Louis-Marie(Luc)Sicardi(French,1754-1793)
LouisXVI,1782
watercoloronivory
CourtesyofCincinnatiArtMuseum,GiftofMr.andMrs.CharlesFleischmanninmemoryofJulius Fleischmann,1990.1810
OriginallyfromToulouse,France,LouisSicardimadehiscareerasaminiaturepainteratthecourt ofLouisXVI.Hecreatednumerouspaintingsfortheroyalfamilyandcourtbefore fleeingtoLondon duringtheFrenchRevolution.SicardieventuallyreturnedtoFranceandcontinuedworkinginParis fortherestofhislife,wherehisworkremainedpopularamongtheFrenchelite,evencatchingthe eyeofJoséphineBonaparte.
DuringhistimeattheFrenchroyalcourt,Sicardiapparentlyneverpaintedthekingdirectly; instead,hebasedhisworksono cialportraitsbyotherartists.Manyofhisminiatureswere mountedingoldboxesandgivenastokensoffavortomembersofthecourtorvisitingguests.These giftssymbolicallyextendedtheking'spowerbeyondhisdomain.
NoraBlount‘26
EvaColeman‘24
ArtistInformationprovidedfromtheCincinnatiArtMuseum
LucSicardiwasborninAvignonin1743andreceivedhisearlytrainingunderhisfather, Jean-Pierre-AntoineSicard(ca.1718–ca.1796).In1771,SicardiwasadmittedtotheAcadémieof BordeauxandmovedtoParisaround1773.Althoughlittleisknownabouthisearlyactivitiesinthe city,by1779,hehadsecuredapositionatthecourtofLouisXVIastheleadingpurveyorofminiature portraitsoftheking.EmployedbyboththemonarchandtheMinistryofForeignA airs,hepainted numerouslikenessesofthekingandhisretinue,manyofwhichwereincorporatedintogold snu oxesandpresentedasdiplomaticgifts.
Sicardi'sworkincourtcirclesbroughthimconsiderablewealthandfame,butby1787,these prestigiouso cialcommissionscametoanabruptend.Duringthedi cultyearsoftheRevolution andDirectory,Sicardiwasforcedtoexpandhisclientelebyplacingadvertisementsinthe Journalde Paris and PetitesA ches,andhehadtolowerhisfees.Bytheearly1810s,hehadregainedmuchof hisformersuccess,andin1814,hewasmadeaChevalieroftheLegiond’Honneur.Sicardiexhibited regularlyattheParisSalonfrom1791to1819anddiedinParisonJune18,1825.
Ref:JulesBelleudy,“LouisSicardiMiniaturiste,” BulletindelaSocietedel’Histoiredel’ArtFrancais, 1931,pp.239-309;Schidlof1964,vol.2,pp.752-54,vol.4, figs.1086-88;NathalieLemonie-Bouchard, Lesminiatures(MuseeCognacq-Jay,lescollections) (Paris,2002),pp.140-41,267.
(Summarydeprivedfrom"PerfectLikeness:EuropeanandAmericanPortraitMiniaturesfromthe CincinnatiArtMuseum")
AnnaClaypoolePeale (American,1791-1878)
AnO cer,1829
WatercoloronIvory
CourtesyofCincinnatiArtMuseum,GiftofMr.andMrs.CharlesFleischmannII,2004.267
AnnaClaypoolePealewasanAmericanpainterwhospecializedinportraitminiaturesonivory.Born inPhiladelphia,Pennsylvania,Pealewasthedaughterofaminiatureportraitartistandthenieceof CharlesWillsonPeale,whofoundedthePealeMuseuminBaltimore,oneoftheoldestmuseumsin thecountry.Notably,AnnaClaypoolePealeearnedthedistinctionofbeingthe firstwomanto becomeamemberofthePennsylvaniaAcademyoftheFineArts,securingherplaceinarthistory. Throughoutthe1820s,sheemergedasthemostsuccessfulminiaturepainterinthemid-Atlantic region.
Theman,amilitaryo cerinthisparticularminiatureportraitremainsunknown,butthecaseis inscribedwiththeinitials"H.D.Bowes,"possiblyhintingataconnectiontotheo cerdepictedin thepainting.Peale’sclienteleprimarilyconsistedofwealthyAmericaneliteswho,inspiredby Europeanromanticism,commissionedminiaturesastokensofa ectiontoexchangewithone another.
IsabelleMonyak‘24
NoraBlount‘26
Thegentlemaninthisminiaturewearsaregimentalo cer’suniformofthe1820sas prescribedbytheUnitedStatesArmy.Thename H.D.Bowes engravedonthecaseisprobably notthesitter’s,asthereisnorecordofano cerbythatname.Nordoesanyonenamed BowesappearindirectoriesforPhiladelphiaandBaltimore,thecitieswhereAnnaClaypoole Pealeobtainedthemajorityofherpatrons.Likecountlessminiaturesofyoungo cerslong absentfromlovedones,thispaintingwasatokenofa ection;locksof flaxenandbrunette hairplaitedtogetherarevisiblethroughawindowinthebackofthecase.PerhapsH.D. Boweswasthewomanwhopossessedthisminiature,orasubsequentownerwhoengraved thenameatalaterdate.Itisalsopossiblethatthecaseoriginallycontainedadi erent miniature.
Ingreatdemandinthe1820s,AnnaClaypoolePealefoundmuchofherpatronage amonganewgenerationofwealthyAmericans,forwhomtheBritishtasteforRomanticism andtransparencyofwatercolornolongerheldassociationswithcultureandlineage.Shemet thedemandforverisimilitudebyrecordingwithspecificitythedistinctivefeaturesofher sittersandtheiraccouterments.In1822asatisfiedcriticpraisedherimprovements“inforce andprecision;herlikenessesarebetter,her finish firmerandmoreresolute,andherlaceand muslintruer.”Onecanbevirtuallycertainthisyoungmansportedtheblondringlets, sparklingblueeyes,andaquilinenosethatPealerenderedwithnotabledelicacy.However, thecupid’s-bowmouthisastandardfeatureofherportraitsthatmakesthemallseem delightfullyagreeable.Theo cer’sindividuallydelineatedeyelashesenhancedthe impression,howevertrue,thathewasanamiablefellow.
Thisportraitshowcasesthegemlikebrilliancyofcolorandglossysurfacethatmakes Peale’sminiaturesresemble,especiallypreciousoilpaintings.Thesaturatedredoftheyoung man’ssashprovidesasplashofvividcoloragainsttheblueofhisuniform.Thecomposition oftheopaque,brownbackgroundwith finehorizontalbandswasadistinctivetreatment, possiblyofherinvention.
ArtistInformation:
Oneofthe firstwomenelectedtomembershipinthePennsylvaniaAcademyofthe FineArts(withhersisterSarahMiriamPealein1824),AnnaClaypoolePealewasarguablythe mostsuccessfulminiaturepainterinthemid-Atlanticregioninthe1820s.Duringalong, productivecareer,sheproudlyincisedhersignatureonmorethantwohundredidentified worksandfoundeagerpatronsamongthehigheststrataofsociety.
BorninPhiladelphia,AnnaClaypoolePealewasencouragedinherprofessional developmentbyheruncleCharlesWilsonPeale(q.v.)andfather,JamesPeale(q.v.).Atage fourteen,afterexhibitingattheacademytwopaintingsafterJosephVernet(1714-1789),she begananapprenticeshipinminiaturepaintingwithherfather.Herearliestdatedminiature knownisfrom1810(HelenaLawrenceHolmesPennington;HistoricalSocietyof Pennsylvania),whichalreadyrevealsherdistinctivewirybrushstrokeandattenuated figure type.Anna’scareerreceivedaboostin1818,whensheaccompaniedheruncletoWashington, whereshecreatedstriking,RomanticminiaturesofAndrewJacksonandothernotables. Afterward,shedividedhertimeprimarilybetweenPhiladelphiaandBaltimorebutalso paintedinBostonandNewYork.Hersuccesswassuchthatshewascountedamongthevery fewofhercountrywomentobeabletosupportherselfasanartist.Sheexhibitedherworks atthePennsylvaniaAcademyannualsregularlyfrom1811through1842andshowedatother publicvenuesaswell.
Pealetookabriefhiatusfromhercareerinlate1829,whenshemarriedtheBaptist ministerReverendWilliamsStaughton,whodiedthreemonthsaftertheirwedding.She resumedminiaturepaintinguntilhersecondmarriage,in1841,toretiredbrigadiergeneral andphilanthropistWilliamDuncan.Pronetodi cultieswithhereyesandperhaps respondingtodiminishingcommissionsforportraitminiatures,sheworkedafterthattime primarilyinoils.
(RelatedInformationdeprivedfrom"PerfectLikeness:EuropeanandAmericanPortraitMiniatures fromtheCincinnatiArtMuseum")
Miniatureportrait
Austria
18thCentury-19thCentury
DU1970.108
GiftofDr.RobertandJuanitaFischelis
Miniatureportrait
18thCentury-19thCentury
Oilonporcelain
DU1970.111
GiftofDr.RobertandJuanitaFischelis
PaintingonPorcelain
Oilonporcelain
DU1970.112
GiftofDr.RobertandJuanitaFischelis
PaintingonPorcelain
Oilonporcelain
DU1970.110
GiftofDr.RobertandJuanitaFischelis
Miniatureportrait
Austria
18thCentury-19thCentury
Oilonporcelain
DU1970.107
GiftofDr.RobertandJuanitaFischelis
CharlesHenrySykes,(American,1882-1942)
“TheGayCaballero”