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MFA Images: Artists

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  • An Artist in His Studio

    about 1904
    John Singer Sargent (American, 1856–1925)

    Description

    An Artist in His Studio was painted in August 1904 at Purtud, while Sargent was on a summer vacation in the Italian Alps. It depicts Sargent’s friend, the Italian artist Ambrogio Raffele, deep in contemplation, working on a bucolic landscape. Raffele is using his cramped and untidy hotel room as a studio; he and his landscape painting are shifted to the left corner. Surrounded by smaller sketches presumably made outdoors, Raffele holds a palette that bears blobs of thick, bright paint, a fistful of brushes, and what may be a snapshot at which he squints as he considers his efforts. Raffele’s straw hat and shirt are tossed carelessly across the rumpled white linens of his unmade bed. The pictorial challenge of painting white on white is one Sargent particularly enjoyed; he handled it here with an extraordinary display of brilliant brushwork.
    The time-honored subject of the artist at work was one of Sargent’s favorites. Beginning in the 1880s, he made many pictures of his friends painting, particularly while he was traveling or on a working holiday; he may even have sought out artists as like-minded companions for his travels. He typically showed them working outdoors; An Artist in His Studio, set in a hotel room, is an exception. The painting was created at a time when Sargent was once again showing strong interest in interior scenes. Like other such images, Sargent crafted An Artist with large, vibrant brushstrokes, impasto, and brilliant light. The bravura brushwork belies the painting’s careful creation: Sargent worked tirelessly to compose and build his paintings, adding flashing strokes only at the very end of the process to give the impression of effortlessness and spontaneity.

    The painting is one of Sargent’s most cleverly composed pictures and, as a commentary on the working conditions of the peripatetic artist, one of the most revealing. This is a reprise of the picture-within-a-picture theme Sargent introduced in Claude Monet Painting by the Edge of a Wood (1885, Tate Britain, London). In that work, Monet sits in the midst of the meadow he is recreating on canvas. Here, Raffele is not painting what he sees; instead, the bucolic landscape on his easel is being manufactured indoors. The sketches scattered around the room—which may well have been produced outdoors—bear a punning similarity to his square, messy palette, as encrusted in Sargent’s painterly rendering as it no doubt was in actuality. And the crowded, makeshift studio belies the notion of the plein-air painter’s idyllic lifestyle. The picture thus suggests something of the quotidian necessities for artists seeking productive travels. Sargent called this painting both His Studio and No Nonsense, the latter title presumably a tongue-in-cheek commentary on his working holidays.

    An Artist in His Studio demonstrates Sargent’s renewed commitment to producing noncommissioned work during the latter half of his career. In fact, his success as a portraitist likely helped to pave the way for the acclaim he received for the non-portrait works he often exhibited. Sargent’s independence allowed him to explore freely the artistic currents of his day, including, most importantly, Impressionism, as shown in the fluid brushwork and seemingly spontaneous nature of An Artist. The paintings Sargent produced on his travels were every bit as serious and considered as his commissioned portraits and murals, despite their picturesque and sometimes deluxe destinations. The compelling perspectives Sargent developed for them indicate their thoughtful creativity, and thus their artistic importance. In An Artist, he seems to peer over the shoulder of a friend at work. The diligent actions of Raffele, the presence of the canvas-within-a-canvas, and the lifelike palette covered with blobs of paint remind the viewer of Sargent’s presence, working like his friend at an easel propped up in the already-cramped room.

    The picture was first exhibited in the winter 1905 exhibition of the New English Art Club in London. There it attracted critical attention for the exuberance of its brushwork; for the intriguing complexity of the object-littered space; and especially for the dazzling light, which silhouettes Raffele’s features against his palette and dances over the rumpled bed linens. The critic for the Art Journal praised its “glad morning light”[1]and the reviewer for the London Times exclaimed, “Surely, never were tumbled white sheets so painted before.”[2]When it was shown the next year in the United States, the painting was particularly admired for its subject: “it gives, without any romantic feelings whatever, the realities of the art struggle.”[3]

    The painting’s move to the United States was the result of its acquisition by the Museum of Fine Arts, Boston. An Artist in His Studio had made a favorable impression on Edward Robinson, then director of the MFA, who visited Sargent in London early in 1905 and responded immediately and enthusiastically to the picture. A fund for the purchase of contemporary art had just been established at the Museum, and Robinson recommended Sargent’s painting as the inaugural acquisition. Bought in May 1905 for $1,000, it was Sargent’s first subject picture to enter the collection of an American museum. Robinson’s confirmation of the purchase, cabled to Sargent in London, reveals his appreciation of the painting’s gentle wit: “Museum will take no nonsense from you.”[4]

    This text was adapted from Gillian Shallcross, The MFA Handbook: A Guide to the Collections of the Museum of Fine Arts, Boston [http://www.mfashop.com/780878467303.html], rev. ed. (Boston: MFA Publications, 2009), and Carol Troyen’s entry in John Singer Sargent, ed. ElaineKilmurray and Richard Ormond, exh. cat. (Princeton, N.J.: Princeton University Press, 1998).

    Notes
    1. Frank Rinder, “London Exhibitions,” Art Journal 67 (January 1905), 32.
    2. The Times, November 15, 1904, 4.
    3. Boston Herald, September 21, 1906.
    4. Edward Robinson to John Singer Sargent, telegram, [May] 1905, Archives, Museum of Fine Arts, Boston.

    Inscription

    Upper right: John S. Sargent

    Provenance

    1905, sold by the artist to the MFA for $1039.53. (Accession Date: May 4, 1905)

    Credit Line

    The Hayden Collection—Charles Henry Hayden Fund

    Details

    Dimensions

    Overall: 56.2 x 72.1cm (22 1/8 x 28 3/8in.)

    Accession Number

    05.56

    Medium or Technique

    Oil on canvas

    On View

    Ruth and Carl J. Shapiro Gallery (Gallery 232)

    Collections

    Americas

    Classifications

    Paintings

    More Info
  • Head of Auguste Rodin

    about 1906
    Gertrude Käsebier (American, 1852–1934)

    Description

    Provenance

    Mina Turner, New York; gift June 1973.

    Credit Line

    Gift of Mina Turner

    Details

    Dimensions

    Image/Sheet: 25.7 x 22.3 cm (10 1/8 x 8 3/4 in.)

    Accession Number

    1973.469

    Medium or Technique

    Photograph, gum bichromate print

    Not On View

    Collections

    Americas, Photography

    Classifications

    Photographs

    More Info
  • Page of calligraphy, lion and male figure

    Persian
    Safavid
    second half of 16th century

    Object Place: Iran

    Description

    Inscription

    Calligraphy at top in cursive nasta'liq ("hanging") script, signed by Shah Mahmud of Nishapur (died 1564-5); calligraphy at left in nasta'liq script, signed in lower triangle by Mir Ali al-Heravi (died 1559 or earlier). Later inscriptions on drawings: "Portrait of Muhammadi done by Muhammadi" (above) and "Done by Amir Ali Sher" (below). Seal of "Abbas" (Shah Abbas I, ruled 1587-1629), dated equivalent to 1587, at upper right of portrait.

    Provenance

    By 1912, Victor Goloubew (b. 1879 - d. 1945), Paris [see note 1]; 1914, sold by Goloubew through M. Meyer-Riefstahl to the MFA for $76,999.81 (total price for 14.532-700). (Accession Date: June 4, 1914) NOTES: [1] Victor Goloubew was born in Russia but lived in Paris by the time of this acquisition. He formed this collection of Persian and Indian miniature paintings and exhibited it at the Musée des Arts Décoratifs in Paris from 1912 to 1914 (Paull, Florence Virginia. "The Goloubew Collection of Persian and Indian Paintings." Museum of Fine Arts Bulletin. Vol. XIII. No. 74. (February 1915) 1-16).

    Credit Line

    Francis Bartlett Donation of 1912 and Picture Fund

    Details

    Dimensions

    W: 8 x L: 14.2 cm (3 1/8 x 5 9/16 in.)

    Accession Number

    14.583

    Medium or Technique

    Opaque watercolor, gold and ink on paper

    Not On View

    Collections

    Asia

    Classifications

    Books and manuscripts

    More Info
  • The Temple of Segesta with the Artist Sketching

    about 1842
    Thomas Cole (American (born in England), 1801–1848)

    Description

    Inscription

    Lower center, on portfolio: T. Cole.

    Provenance

    About 1842, the artist. 1848, G. F. Allen. With LeRoy Ireland, New York. 1944, with Victor Spark, New York; 1944, sold by Victor Spark to Maxim Karolik, Newport, R.I.; 1947, gift of Martha C. (Mrs. Maxim) Karolik to the MFA. (Accession Date: June 12, 1947)

    Credit Line

    Gift of Martha C. Karolik for the M. and M. Karolik Collection of American Paintings, 1815–1865

    Details

    Dimensions

    49.85 x 76.52 cm (19 5/8 x 30 1/8 in.)

    Accession Number

    47.1198

    Medium or Technique

    Oil on canvas

    On View

    Penny and Jeff Vinik Gallery (Gallery 233)

    Collections

    Americas

    Classifications

    Paintings

    More Info
  • Portrait of the Artist

    1890
    Camille Pissarro (French (born in the Danish West Indies), 1830–1903)

    Description

    Inscription

    One of 28 impressions inscribed, lower left, in the artist's hand: ler Etat - No 20 C.Pissarro / Portrait de C.P. Lower right, in pencil: C. Pissarro/ LD 90

    Provenance

    Henri M. Petiet (1894-1980); to Carstairs Gallery (New York NY); April 14, 1960, sold by Carstairs Gallery to MFA. (Accession Date: April 14, 1960)

    Credit Line

    Lee M. Friedman Fund

    Details

    Catalogue Raisonné

    Delteil 90, second state

    Dimensions

    Platemark: 18.3 x 17.4 cm (7 3/16 x 6 7/8 in.) Sheet: 34.2 x 25 cm (13 7/16 x 9 13/16 in.)

    Accession Number

    60.249

    Medium or Technique

    Etching

    Not On View

    Collections

    Europe, Prints and Drawings

    Classifications

    Prints

    More Info
  • Self-Portrait

    about 1840–41
    Jean-François Millet (French, 1814–1875)

    Description

    Millet’s self-portrait at the age of about twenty-six connects him to advanced art circles in Paris, where he had arrived just three years before from his provincial home. His curled hair and velvet trimmed jacket were practically the uniform of the Romantic circle of French painters, who also favored the intensity of emotion conveyed by Millet’s dark gaze. With a confident hand, the young artist announces his serious intentions, as well as his burgeoning talent.

    Millet was born in 1814 in the small farming community of Gruchy, in the Northeastern French region of Normandy. After studying Latin, literature, and other subjects with two village priests, he continued his education as an artist in the nearest city, Cherbourg. At the age of twenty-three, he received a stipend from the city of Cherbourg to move to Paris, where he studied at the prestigious Ecole des Beaux-Arts. His time in Paris was invaluable, but Millet missed the country, and when his scholarship ended he returned to Cherbourg to become a portrait painter. For some time he moved between Normandy and Paris, and eventually he decided to settle in Barbizon, a rural area not far from the capital. The village of Barbizon abuts the Forest of Fontainebleau and the flat agricultural Plain of Chailly. This is where Millet and his family remained for the rest of his life, with the exception of a year spent in Normandy during the Franco-Prussian War (1870-71) and summer trips with his wife to the spa town of Vichy. Nonetheless, Millet visited Paris frequently and remained closely involved with the city’s artistic culture.

    Inscription

    Lower left: J. F. Millet

    Provenance

    By inheritance from the artist to his brother, Pierre Millet; 1893, sold by Pierre Millet to the MFA for $3000. (Accession Date: June 1, 1893)

    Credit Line

    Museum purchase with funds donated by contribution

    Details

    Catalogue Raisonné

    Murphy 1

    Dimensions

    63.5 x 47 cm (25 x 18 1/2 in.)

    Accession Number

    93.154

    Medium or Technique

    Oil on canvas

    Not On View

    Collections

    Europe

    Classifications

    Paintings

    More Info
  • Self-Portrait

    1880–85
    James Wells Champney (American, 1843–1903)

    Description

    Head, three-quarters to right, moustache and short beard; dark background.

    Provenance

    Maxim Karolik, Newport; Gift to MFA November 13, 1958

    Credit Line

    Gift of Maxim Karolik for the M. and M. Karolik Collection of American Watercolors and Drawings, 1800–1875

    Details

    Catalogue Raisonné

    Karolik (1962) cat. 138, colorplate 1

    Dimensions

    Image within margins: 34.3 x 23.5 cm (13 1/2 x 9 1/4 in.) Sheet: 34.8 x 24.1 cm (13 11/16 x 9 1/2 in.)

    Accession Number

    58.1081

    Medium or Technique

    Transparent and opaque watercolor on paper

    Not On View

    Collections

    Americas, Prints and Drawings

    Classifications

    Watercolors

    More Info
  • Self-Portrait

    Italian
    about 1556
    Sofonisba Anguissola (Italian (Cremonese), about 1532–1625)

    Description

    Praised by her contemporaries as the foremost woman painter of her day, Anguissola executed more self-portraits than any other artist in the period between Dürer and Rembrandt. This miniature displays the artist’s meticulous technique and a Renaissance taste for puzzles: the interwoven letters at the center of the medallion form a monogram or phrase that has been satisfactorily explained. Around the rim, the medallion is inscribed in Latin: “The maiden Sofonisba Anguissola, depicted by her own hand, from a mirror, at Cremona.”

    Provenance

    By 1801, Richard Gough (b. 1735 - d. 1809), London [see note 1]. By 1862, Henry Danby Seymour (b. 1820 - d. 1877), Ashridge [see note 2]; by descent to his niece, Miss Jane Margaret Seymour (b. 1873 - d. 1943), Knoyle, Wiltshire; May 9, 1928, Seymour sale, Sotheby's, London, lot 61. November 9, 1959, anonymous sale ("the property of a lady"), Sotheby's, London, lot 28, to F. Kleinberger and Co., New York; 1960, sold by Kleinberger to the MFA for $3,000. (Accession Date: March 10, 1960) NOTES: [1] For the history of this miniature, see "Catalogue of Fine Portrait Miniatures, Scientific Instruments, Watches, and Objects of Vertu," Sotheby's, London, November 9, 1959, lot 28. The work was recorded in the Gough collection in "Gentlemen's Quarterly," October 1801, p. 897. [2] Henry Danby Seymour lent the work to the South Kensington Museum as early as 1862, and, according to a letter from Harry G. Sperling of Kleinberger to the MFA (November 12, 1959), from 1912 to 1928, J. M. Seymour lent it to the Victoria and Albert Museum, London. Information about the dates of these loans (but not about the lenders) is confirmed in the 1959 auction catalogue (as above, n. 1).

    Credit Line

    Emma F. Munroe Fund

    Details

    Dimensions

    8.3 x 6.4 cm (3 1/4 x 2 1/2 in.)

    Accession Number

    60.155

    Medium or Technique

    Varnished watercolor on parchment

    Not On View

    Collections

    Europe

    Classifications

    Miniatures

    More Info
  • Self-Portrait with a Beret

    about 1898–99
    Paul Cézanne (French, 1839–1906)

    Description

    Cézanne began a systematic campaign of self portraiture in the 1870s and continued it through the next thirty years. In this picture, made near the end of his life, the artist painted himself with a detachment that bordered on abstraction in the clean, geometric volumes of the hat, the barely indicated chair, the stark planes of cheekbone and forehead. This resulting work is among the simplest of Cézanne’s self portraits and recalls his stated desire to “make of Impressionism an art as solid as that of the museums.”

    Provenance

    Ambroise Vollard (b. 1867 - d. 1939), Paris; probably sold by Vollard to Egisto Fabbri (b. 1866 - d. 1933), Florence [see note 1]; November 15, 1928, sold by Fabbri to Georges Wildenstein and Paul Rosenberg and Co., Paris (stock no. 2266) [see note 2]; by 1929, sold by Rosenberg to Robert Treat Paine II (b. 1861 - d. 1943), Boston [see note 3]; by descent to his daughter, Elizabeth Paine (Mrs. Thomas) Metcalf (later Mrs. Thomas Card) (b. 1896), Boston; 1972, purchase and partial gift of Elizabeth Paine Metcalf to the MFA. (Accession Date: December 13, 1972) NOTES: [1] Egisto Fabbri was one of the first collectors to purchase the works of Cézanne through Vollard. He lent this painting to the Biennale, Venice, in 1920 (no. 25). [2] Fabbri sold thirteen of his Cézanne paintings to the dealers Georges Wildenstein and Paul Rosenberg of Paris. A document of November 15, 1928, confirms their receipt by intermediary Tammaro De Marinis, who oversaw their transport out of Italy. See Francesca Bardazzi, Cézanne in Florence: Two collectors and the 1910 exhibition of Impressionism (exh. cat. Palazzo Strozzi, Florence, March 2 - July 29, 2007), 25-26, 278, doc. 11. [3] Paine lent this painting to the exhibition "Cézanne, Gauguin, Seurat, van Gogh," Museum of Modern Art, New York, 1929, cat. no. 4.

    Credit Line

    Charles H. Bayley Picture and Painting Fund and Partial Gift of Elizabeth Paine Metcalf

    Details

    Dimensions

    64.1 x 53.3 cm (25 1/4 x 21 in.)

    Accession Number

    1972.950

    Medium or Technique

    Oil on canvas

    On View

    Sidney and Esther Rabb Gallery (Gallery 255)

    Collections

    Europe

    Classifications

    Paintings

    More Info
  • Self-Portrait

    1970
    Catherine Murphy (American, born in 1946)

    Description

    Provenance

    The artist; to Michael and Gail Mazur, Cambridge, MA, 1987; to MFA, Boston, 1998

    Credit Line

    Gift of Michael and Gail Mazur

    Copyright

    © Catherine Murphy, 1970

    Details

    Dimensions

    125.7 x 94.3 cm (49 1/2 x 37 1/8 in.)

    Accession Number

    1998.416

    Medium or Technique

    Oil on canvas

    Not On View

    Collections

    Americas, Contemporary Art

    Classifications

    Paintings

    More Info
  • Self-Portrait

    1981
    Jacques Hnizdovsky (American (born in Ukraine), 1915–1985)

    Description

    Inscription

    Signed, titled, dated recto lower center

    Provenance

    Estate of the artist; gift to the MFA September 25, 2002

    Credit Line

    Gift of Stephanie and Mira Hnizdovsky

    Copyright

    © S. Hnizdovsky

    Details

    Catalogue Raisonné

    Tahir 294

    Dimensions

    Sheet: 26.2 x 22.5 cm (10 5/16 x 8 7/8 in.) Block: 14 x 14 cm (5 1/2 x 5 1/2 in.)

    Accession Number

    2002.346

    Medium or Technique

    Woodcut

    Not On View

    Collections

    Americas, Contemporary Art, Prints and Drawings

    Classifications

    Prints

    More Info
  • Self-Portrait

    1971
    Jacques Hnizdovsky (American (born in Ukraine), 1915–1985)

    Description

    Inscription

    Signed, dated recto lower left; "AP 21/35" recto lower right (artist proof)

    Provenance

    Estate of the artist; gift to the MFA September 25, 2002

    Credit Line

    Gift of Stephanie and Mira Hnizdovsky

    Copyright

    © S. Hnizdovsky

    Details

    Catalogue Raisonné

    Tahir 357

    Dimensions

    Sheet: 31.7 x 30.3 cm (12 1/2 x 11 15/16 in.) Plate: 17.1 x 17.5 cm ( 6 3/4 x 6 7/8 in.)

    Accession Number

    2002.347

    Medium or Technique

    Etching

    Not On View

    Collections

    Americas, Contemporary Art, Prints and Drawings

    Classifications

    Prints

    More Info
  • Self-Portrait

    1971
    Jacques Hnizdovsky (American (born in Ukraine), 1915–1985)

    Description

    Provenance

    Estate of the artist; gift to the MFA September 25, 2002

    Credit Line

    Gift of Stephanie and Mira Hnizdovsky

    Copyright

    © S. Hnizdovsky

    Details

    Catalogue Raisonné

    Tahir 115

    Dimensions

    Block: 20.6 x 15.9 cm (8 1/8 x 6 1/4 in.)

    Accession Number

    2002.351

    Medium or Technique

    Woodcut

    Not On View

    Collections

    Americas, Contemporary Art, Prints and Drawings

    Classifications

    Prints

    More Info
  • Self-Portrait

    1971
    Jacques Hnizdovsky (American (born in Ukraine), 1915–1985)

    Description

    Provenance

    Estate of the artist; gift to the MFA September 25, 2002

    Credit Line

    Gift of Stephanie and Mira Hnizdovsky

    Copyright

    © S. Hnizdovsky

    Details

    Catalogue Raisonné

    Tahir 115

    Dimensions

    Block: 20.6 x 15.9 cm (8 1/8 x 6 1/4 in.) Case: 47.5 x 63 x 7.5 cm (18 11/16 x 24 13/16 x 2 15/16 in.)

    Accession Number

    2002.352

    Medium or Technique

    Woodblock

    Not On View

    Collections

    Americas, Contemporary Art

    Classifications

    Tools & equipment, Printmaking

    More Info
  • Blue/Green Head Self-Portrait

    Second Milford Series #3

    1966–67
    Lester Johnson (American, 1919–2010)

    Description

    Blue and black on paper prepared in varying shades of green

    Signed

    Recto lower left in graphite pencil: Lester Johnson

    Markings

    Accompanied by Martha Jackson Gallery label number 10664

    Provenance

    Martha Jackson Gallery, New York, 1969; Albert Merola Gallery, Provincetown, MA, 2002; David Murphy, Boston; his gift to MFA, September 2002.

    Credit Line

    Gift of David W. Murphy

    Copyright

    Reproduced with permission. Courtesy, Albert Merola Gallery.

    Details

    Dimensions

    45.1 x 60.3 cm (17.75 x 23.75 in.)

    Accession Number

    2002.357

    Medium or Technique

    Watercolor [dilute acrylic paint] on fibrous paper

    Not On View

    Collections

    Americas, Contemporary Art, Prints and Drawings

    Classifications

    Watercolors

    More Info
  • Fran.co Goya y Lucientes, Pintor Fran.co Goya y Lucientes, Pintor (Francisco Goya, Painter) plate 1 of "Los Caprichos")

    Self-Portrait

    1798–99
    Francisco Goya y Lucientes (Spanish, 1746–1828)

    Description

    Working proof, before letters, before aquatint, additional drypoint and burin work.. The border is iron gall over graphite,

    Provenance

    Javier Goya; Pasqual de Gayangos: Stirling-Maxwell, Pollok House, Glasgow; Eleanor A. Sayre (1916-2001), Cambridge, MA; bequest to MFA, October 23, 2002

    Credit Line

    Bequest of Eleanor A. Sayre

    Details

    Catalogue Raisonné

    Harris 036, I, a; Delteil 038

    Dimensions

    Sheet trimmed to platemark: 20.5 x 14.4 cm (8 1/16 x 5 11/16 in.)

    Accession Number

    2002.497

    Medium or Technique

    Etching, before aquatint and additional drypoint and engraving, touched with graphite and brown ink (mss notes posthumous); working proof before letters

    Not On View

    Collections

    Europe, Prints and Drawings

    Classifications

    Prints

    More Info
  • Self-Portrait (Exhibition Poster for The Print Club, Philadelphia)

    1963
    Jerome Kaplan (American, 1920–1997)

    Description

    Exhibition poster for The Print Club, Philadelphia, November 8-29 [1963?]. Printed by Clair van Vliet in edition of 250.

    Inscription

    Printed under image: "Jerome Kaplan, Lithography and Intaglio, The Print Club 1614 Latimer Street Philadelphia November 8-29"

    Provenance

    Anne Kaplan, Philadelphia; to Benjamin Goluboff, Illinois; by whom given to the MFA December 30, 2003

    Credit Line

    Gift of Benjamin Goluboff

    Copyright

    Reproduced with permission.

    Details

    Catalogue Raisonné

    Fine 138A

    Dimensions

    Sheet: 50.9 x 33 cm (20 1/16 x 13 in.)

    Accession Number

    2003.843

    Medium or Technique

    Relief etching and letterpress

    Not On View

    Collections

    Americas, Contemporary Art, Prints and Drawings

    Classifications

    Prints, Posters

    More Info
  • Josiah Johnson Hawes, Self-Portrait as an Old Man

    about 1895
    Josiah Johnson Hawes (American, 1808–1901)

    Description

    Provenance

    W. G. Russell Allen, Boston (1882-1955); his bequest to the MFA, accessioned 2004.

    Credit Line

    Bequest of W. G. Russell Allen

    Details

    Dimensions

    Image/mount: 17.2 x 12.8 cm (6 3/4 x 5 1/16 in.)

    Accession Number

    2004.127

    Medium or Technique

    Photograph, albumen print mounted on board

    Not On View

    Collections

    Americas, Photography

    Classifications

    Photographs

    More Info
  • Untitled (Self-Portrait and Icon)

    2004
    Charles E. "Skip" Milson (American, 1938–2004 American)

    Description

    Inscription

    recto: pencil, l.r.: "2/4 Charles E. Milson" verso: rejected impression annotated pencil l.r.: "NG" (no good)

    Credit Line

    Museum purchase with funds donated by William B. Osgood

    Copyright

    Reproduced with permission.

    Details

    Dimensions

    Image: 26.8 x 35.5 cm (10 9/16 x 14 in.) Sheet: 43.3 x 56 cm (17 1/16 x 22 1/16 in.)

    Accession Number

    2005.63

    Medium or Technique

    Color inkjet print

    Not On View

    Collections

    Americas, Contemporary Art, Prints and Drawings

    Classifications

    Prints

    More Info
  • Self-Portrait

    Portrait de M. Fantin à dix-sept ans

    1853
    Henri Fantin-Latour (French, 1836–1904)

    Description

    Inscription

    Inscribed in stone below image: "D'aprés le portrait que j'ai fait de moi à l'âge de 17 ans/ H. Fantin"

    Provenance

    Florence S. Gerstein (1926-2004, Boston); her bequest to MFA, April 27, 2005

    Credit Line

    Bequest of Florence S. Gerstein

    Details

    Catalogue Raisonné

    Hédiard 104, first state

    Dimensions

    Image: 15.1 x 12.4 cm (5 15/16 x 4 7/8 in.) Sheet: 27.8 x 18.9 cm (10 15/16 x 7 7/16 in.)

    Accession Number

    2005.241

    Medium or Technique

    Lithograph on Asian paper

    Not On View

    Collections

    Europe, Prints and Drawings

    Classifications

    Prints

    More Info
  • Fran.co Goya y Lucientes, Pintor (Frontispiece, pl. 1, bound into "Los Caprichos") (Francisco Goya, Painter, plate 1 of "Los Caprichos")

    Self-Portrait

    Drawn and etched, 1797–98; published 1799
    Francisco Goya y Lucientes (Spanish, 1746–1828)

    Description

    From a bound pre-publication set of so-called trial proofs (H. II); Proof with letters and no., but before corrections in title (before comma after “Lucientes: and loop to “r” of Pintor; after colon after Fran” changed to a period.
    Bound in brown sprinkled (mottled) calf with gold letters and decoration. On spine in gold on black: CAPRICH / DE/ GOYA; 31.0 x 21.3; in red slipcase, 31.8 x 22.8 cm

    Provenance

    William P. Babcock (1826-1899, born in Boston, lived in Paris, Lugt 207); acquired by bequest to the MFA, 12 June 1900.

    Credit Line

    Bequest of William Perkins Babcock

    Details

    Catalogue Raisonné

    Harris 036, II, 1; Delteil 038

    Dimensions

    Platemark: 22.0 x 15.3 cm (8 11/16 x 6 in.) Sheet: 30.0 x 20.0 cm (11 13/16 x 7 7/8 in.)

    Accession Number

    B4165.1

    Medium or Technique

    Etching, aquatint, drypoint, and burin, pre-publication proof

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  • Self-Portrait (Anthony van Dyck)

    Self-portrait

    about 1626–32
    Anthony van Dyck (Flemish, 1599–1641)

    Description

    Self-Portrait, about 1626-32, from the Iconography series of portraits.

    Provenance

    Purchased by MFA from an unknown source, November 1916.

    Credit Line

    Gift of the Visiting Committee

    Details

    Catalogue Raisonné

    W 4, First state

    Dimensions

    24.5 x 15.7 cm (9 5/8 x 6 3/16 in.); Legacy dimension: 9 1/2 x 6 1/8 in.;

    Accession Number

    M26258

    Medium or Technique

    Etching, first state

    Not On View

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  • Portrait of the Artist and his Wife Ida

    Israhel van Meckenem and his Wife Ida

    Israhel van Meckenem (German, about 1440/45–1503)

    Description

    Signed

    in lower margin: Figuracio . facierum . Israhelis . et . Ide . eius . uxoris . . I V M .

    Markings

    verso, in graphite: C3186; 44

    Provenance

    Acquired by the MFA March 1920

    Credit Line

    Harriet Otis Cruft Fund

    Details

    Catalogue Raisonné

    Lehrs 001 (II); Hollstein-Koreny 1, Geisberg 1; Bartsch 1

    Dimensions

    Sheet: 13 x 17.6 cm (5 1/8 x 6 15/16 in.)

    Accession Number

    M28128

    Medium or Technique

    Engraving

    Not On View

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  • Self Portrait, Frowning: Bust

    Self-Portrait Looking over Shoulder

    1630
    Rembrandt Harmensz. van Rijn (Dutch, 1606–1669)

    Description

    Provenance

    Ambroise Firmin-Didot (1790-1876, Paris, Lugt 119); his sale, Paris, Danlos, Delisle, and Pawlowski, 16 April-12 May 1877, lot 723, on 8 May; Henry F. Sewall (1816-1896, New York, Lugt 1309); purchased by MFA, November 1897.

    Credit Line

    Harvey D. Parker Collection—Harvey Drury Parker Fund

    Details

    Catalogue Raisonné

    Bartsch 010; Hind 30 ii

    Dimensions

    Sheet: 6.9 x 5.8 cm (2 11/16 x 2 5/16 in.)

    Accession Number

    P381

    Medium or Technique

    Etching

    Not On View

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  • Self-Portrait Leaning on a Stone Sill

    1639
    Rembrandt Harmensz. van Rijn (Dutch, 1606–1669)

    Description

    Provenance

    Wilhelm Koller (died 1871, Vienna, Lugt 2632); probably included in his sale, Vienna, Posonyi, 5 February 1872 (and following days); Henry F. Sewall (1816-1896, New York, Lugt 1309); purchased by MFA, November 1897.

    Credit Line

    Harvey D. Parker Collection—Harvey Drury Parker Fund

    Details

    Catalogue Raisonné

    Bartsch 021; Hind 168 ii

    Dimensions

    Sheet: 20.6 x 16.3 cm (8 1/8 x 6 7/16 in.)

    Accession Number

    P393

    Medium or Technique

    Etching

    Not On View

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  • Artist in his Studio

    about 1628
    Rembrandt Harmensz. van Rijn (Dutch, 1606–1669)

    Description

    In this small painting, the young Rembrandt seems to represent the daunting moments of conception and decision necessary to the creation of a work of art. An artist confronts his easel in a studio bare of everything except his essential tools. This drama, with its emphasis on thought rather than action, is intensified by the expressive use of light and shadow. The painting’s daring perspective is also important: the distant figure of the painter seems dwarfed by his work, looming large in the foreground.

    Provenance

    Chevalier Antoine de la Roque (b. 1672 - d. 1744), Paris; April, 1745, posthumous La Roque sale, Gersaint, Paris, lot 65, to Nelson. 1773, Le Favre and Jean Baptiste Pierre Le Brun (b. 1748 - d. 1813), Paris; January 11, 1773, Le Favre and Le Brun sale, Basan, Paris, lot 25. George Douglas (b. 1761 - d. 1827), 16th Earl of Morton and his wife, Susan Elizabeth Buller-Yarde-Buller (b. 1793 - d. 1849), Countess of Morton, Dalmahoy House, Kirknewton, Midlothian, Scotland [see note 1]; April 27, 1850, Countess of Morton sale, Christie's, London, lot 70, not sold [see note 2]; passed to the Countess of Morton's brother, John Buller-Yarde-Buller (b. 1799 - d. 1871), 1st Baron Churston, Lupton, Devonshire; until 1925, by descent within the family; June 26, 1925, Lord Churston and others sale, Christie's, London, lot 14, sold for £1417.10 to Zink, probably for Robert Langton Douglas (b. 1864 - d. 1951), London [see note 3]. By 1926, Zoë Oliver (Mrs. Henry S.) Sherman, Boston [see note 4]; 1938, gift of Zoë Oliver Sherman to the MFA. (Accession Date: December 31, 1938) NOTES: [1] In the 1926 Churston sale catalogue, the painting is said to be "formerly in the collection of the Right Hon. The Earl of Morton, at Dalmahoy, Kirknewton, Midlothian." The seller of the collection in 1850 was his (deceased) wife, the Dowager Countess of Morton. [2] The painting brought only six guineas when it was put up for auction in 1850. [3] Although published sale results give the purchaser as "Zink," Robert Langton Douglas is said to have acquired the painting by C. Hofstede de Groot, "Rembrandt's Painter in His Studio," Burlington Magazine 47, no. 272 (November, 1925): p. 265. [4] First published in her collection by W. R. Valentiner, "Two Early Self-Portraits by Rembrandt," Art in America 14 (1926): p. 118, fig. 1.

    Credit Line

    Zoe Oliver Sherman Collection given in memory of Lillie Oliver Poor

    Details

    Catalogue Raisonné

    Bredius 419; RRP A 18

    Dimensions

    Overall: 24.8 x 31.7cm (9 3/4 x 12 1/2in.)

    Accession Number

    38.1838

    Medium or Technique

    Oil on panel

    On View

    Art of the Netherlands in the 17th Century Gallery (Gallery 242)

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  • Summer Afternoon (Artist in his Studio with a Model)

    about 1913
    Sir William Orpen (Irish (active in England), 1878–1931)

    Description

    Orpen studied in Dublin and then at London’s Slade School, becoming one of the most successful, and most honored, portrait painters of his generation. Here, in one of his numerous forays into self-portraiture, Orpen (who was known for his wit and humor) depicts himself at work in his Chelsea studio, gesturing mock-heroically as his model yawns.

    Inscription

    Lower right: O R P E N

    Provenance

    1920, Mrs. John F. Carroll; February 5, 1920, sold at Carroll sale, Anderson Galleries, New York, no. 112, and bought by John Taylor Spaulding, Boston, MA (d. 1948); 1948, bequest of Spaulding. (Accession Date: June 3, 1948)

    Credit Line

    Bequest of John T. Spaulding

    Details

    Dimensions

    96.5 x 86.4 cm (38 x 34 in.)

    Accession Number

    48.582

    Medium or Technique

    Oil on canvas

    On View

    Elevator Lobby and Corridor near Founders ( 340.4)

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  • Young Artist Working by Lamplight

    Pietro Paolini (Italian (Lucchese), 1603–1681)

    Description

    Provenance

    1776, possibly Buonvisi collection, Lucca [see note 1]. By 1946, Mrs. Charles T. Tatman, Worcester, MA; 1947, sold by Mrs. Tatman to the MFA for $700 [see note 2]. (Accession Date: February 13, 1947) NOTES: [1] Patrizia Giusti Maccari, "Pietro Paolini: pittore lucchese, 1603-1681" (Lucca, 1987), p. 125, cat. no. 40, suggests that this is one of several paintings by Paolini included in the 1776 inventory of the Casa Buonvisi. [2] Accessioned as a work of the North Italian school.

    Credit Line

    Ernest Wadsworth Longfellow Fund

    Details

    Dimensions

    68.3 x 121.3 cm (26 7/8 x 47 3/4 in.)

    Accession Number

    47.118

    Medium or Technique

    Oil on canvas

    Not On View

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  • Artist Sketching in a Park

    about 1880–90
    James Wells Champney (American, 1843–1903)

    Description

    Man seated on campstool under sunshade, his portfolio leaning against tree.

    Provenance

    Maxim Karolik, Newport; Gift to MFA November 13, 1958

    Credit Line

    Gift of Maxim Karolik for the M. and M. Karolik Collection of American Watercolors and Drawings, 1800–1875

    Details

    Catalogue Raisonné

    Karolik (1962) cat. 140

    Dimensions

    Sheet: 12.7 x 22.9 cm (5 x 9 in.)

    Accession Number

    58.1082

    Medium or Technique

    Watercolor and Chinese white on blue-gray paper

    Not On View

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  • Les Paysagistes (Les Artistes)

    Plate 1 from Les Artistes in le Charivari May 12 1865

    1865
    Honoré Daumier (French, 1808–1879), Lithograph(s) by Destouches (French, 19th century)

    Description

    Inscription

    Signed on stone, l.l. h.D.; c. Les Artistes_Croquis par Daumier; u.r. 1

    Provenance

    W. G. Russell Allen, Boston (1882-1955); bequest to MFA, date of acquisition November 13, 1963

    Credit Line

    Bequest of W. G. Russell Allen

    Details

    Catalogue Raisonné

    Delteil 3439, II; H.D.605

    Dimensions

    Sheet: 37.3 x 26.3 cm (14 11/16 x 10 3/8 in.)

    Accession Number

    63.2121

    Medium or Technique

    Lithograph

    Not On View

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  • My Uncle Daniel and his Family

    1910
    Ignacio Zuloaga y Zabaleta (Spanish, 1870–1945)

    Description

    Zuloaga, “the Great Basque,” hailed from five generations of painters. Influenced by predecessors such as Velázquez and Goya, he painted mostly images of Basque and Andalusian traditions. While his work is uniquely Spanish, his early mentors and colleagues included French painters like Degas and Gauguin, and Dutch-born van Gogh. Later, he befriended Émile Bernard, who taught him the cloisonné technique seen in the “stained glass” quality of the oriental shawl. Zuloaga’s large family portrait combines these stylistic sources, visible in the composition and emotional effect achieved through swirling brushstrokes and a haunting atmosphere.

    Inscription

    Lower right: I Zuloaga

    Provenance

    Until 1917, Ignacio Zuloaga y Zabaleta, the artist; 1917, sold by the artist to the MFA for $20,000. (Accession Date: April 19, 1917)

    Credit Line

    Caroline Louisa Williams French Fund

    Copyright

    © 2011 Artists Rights Society (ARS), New York / VEGAP, Madrid.

    Details

    Dimensions

    205.1 x 289.5 cm (80 3/4 x 114 in.)

    Accession Number

    17.1598

    Medium or Technique

    Oil on canvas

    Not On View

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  • Elihu Vedder

    1902
    John Ferguson Weir (American, 1841–1926)

    Description

    Inscription

    Lower right: John F. Weir/pinxit/Rome 1902.

    Provenance

    The artist; to MFA, 1923, gift of the artist.

    Credit Line

    Gift of the artist

    Details

    Dimensions

    72.39 x 60.01 cm (28 1/2 x 23 5/8 in.)

    Accession Number

    23.162

    Medium or Technique

    Oil on canvas

    Not On View

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  • Self Portrait

    about 1903
    Edward Hopper (American, 1882–1967)

    Description

    Inscription

    Reverse: E. HOPPER

    Provenance

    The artist; the artist's mother; to Marion Hopper, Nyack, New York, the artist's sister; to Rev. Arthayer R. Sanborn; to Rev.. and Mrs. William H. Brittain; to MFA, 1976, purchase.

    Credit Line

    The Hayden Collection—Charles Henry Hayden Fund

    Details

    Dimensions

    51.43 x 41.27 cm (20 1/4 x 16 1/4 in.)

    Accession Number

    1976.606

    Medium or Technique

    Oil on canvas

    Out on Loan

    On display at Norman Rockwell Museum at Stockbridge, June 7, 2014 – October 26, 2014

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  • Simplon Pass: The Lesson

    about 1911
    John Singer Sargent (American, 1856–1925)

    Description

    Inscription

    In iron gall ink, u.r.: John S. Sargent

    Provenance

    Purchased from the artist through M. Knoedler, New York, April 4, 1912

    Credit Line

    The Hayden Collection—Charles Henry Hayden Fund

    Details

    Dimensions

    Sheet: 38.2 x 46 cm (15 1/16 x 18 1/8 in.)

    Accession Number

    12.218

    Medium or Technique

    Translucent watercolor, with touches of opaque watercolor and wax resist, over graphite on paper

    Not On View

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  • Cyrus E. Dallin

    about 1914
    Artist Alice Austin (American, 1859–1933)

    Description

    With sculpture of medicine man

    Provenance

    1933, gift of Leonora Austin, Boston, to the MFA. (Accession Date: June 1, 1933)

    Credit Line

    Gift of Miss Leonora Austin

    Details

    Dimensions

    Image/Sheet: 20.0 x 14.9 cm (7 7/8 x 5 7/8 in.) Mount: 27.0 x 18.7 cm (10 5/8 x 7 3/8 in.)

    Accession Number

    33.521

    Medium or Technique

    Photograph, platinum print

    Not On View

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  • Art-Students And Copyists In The Louvre Gallery, Paris (For Harper's Weekly, January 11, 1868, p. 25)

    1868
    After Winslow Homer (American, 1836–1910), Unidentified artist, American, 19th century

    Description

    Provenance

    William G. Russell Allen (1882-1955, Boston); by whom given to MFA May 11, 1938

    Credit Line

    Gift of W. G. Russell Allen

    Details

    Catalogue Raisonné

    Gelman 166

    Dimensions

    Image: 22.9 x 34.9 cm (9 x 13 3/4 in.)

    Accession Number

    38.830

    Medium or Technique

    Wood engraving

    Not On View

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  • Henri Matisse and his model

    1939
    Brassaï (Gyula Halasz) (French (born in Hungary), 1899–1984)

    Description

    Inscription

    Lower margin in ink: "17/30/Brassai." Photographer's stamps on verso.

    Provenance

    Phoenix Gallery/Edition, San Francisco, CA; purchased October 13, 1976.

    Credit Line

    Gift of Jessie H. Wilkinson—Jessie H. Wilkinson Fund

    Copyright

    Photograph by Brassaï. © Gilberte Brassaï.

    Details

    Dimensions

    Image: 23.18 x 27.94 cm (9 1/8 x 11 in.)

    Accession Number

    1976.726

    Medium or Technique

    Photograph, gelatin silver print

    Not On View

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  • Aristide Maillol at Work on L'Ile de France

    about 1932
    Brassaï (Gyula Halasz) (French (born in Hungary), 1899–1984)

    Description

    Inscription

    Brassai stamp on verso. Inscribed in pencil: "Maillol terminant L'Ile de France".

    Provenance

    Simon Lowinsky Gallery, Millerton, NY; purchased September 1985.

    Credit Line

    Sophie M. Friedman Fund

    Copyright

    Photograph by Brassaï. © Gilberte Brassaï.

    Details

    Dimensions

    Image/Sheet: 23.5 x 17.3 cm (9 1/4 x 6 13/16 in.)

    Accession Number

    1985.435

    Medium or Technique

    Photograph, gelatin silver print

    Not On View

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  • Madame Bracquemond Sketching on the Terrace of the Villa Brancas

    La Terrasse de la Villa Brancas

    1876
    Félix Bracquemond (French, 1833–1914)

    Description

    Beraldi: On the terrasse of a villa overlooking the Seine valley, opposite the old factory and the heights of Bellevue, two young women, of whom one draws and the other poses, sheltered by a parasol

    Signed

    l.r. (in plate) Bracquemond 1876

    Provenance

    By 1916, J. Francis Driscoll, Brookline, MA; 1916, gift of Driscoll to the MFA . (Accession date: March 26, 2015)

    Credit Line

    Gift of J. Francis Driscoll

    Details

    Catalogue Raisonné

    Beraldi 215, Sixth

    Dimensions

    Platemark: 25.5 x 35.5 cm (10 1/16 x 14 in.) Sheet: 28.6 x 38.1 cm (11 1/4 x 15 in.)

    Accession Number

    16.478

    Medium or Technique

    Etching and engraving

    Not On View

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  • John La Farge

    1891
    Robert Wilton Lockwood (American, 1861–1914)

    Description

    Inscription

    Lower left: Wilton Lockwood 1891

    Provenance

    The artist; to MFA, 1909, purchased for $4,000.

    Credit Line

    The Hayden Collection—Charles Henry Hayden Fund

    Details

    Dimensions

    96.2 x 76.52 cm (37 7/8 x 30 1/8 in.)

    Accession Number

    09.208

    Medium or Technique

    Oil on canvas

    On View

    Robert P. and Carol T. Henderson Gallery (Gallery 228)

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  • Studio Interior

    1872
    Edwin White (American, 1817–1877)

    Description

    Inscription

    Lower left: Edwin White/1872

    Provenance

    The artist; Maxim Karolik, Newport, R.I., 1962; to MFA, 1964, bequest of Maxim Karolik.

    Credit Line

    Bequest of Maxim Karolik

    Details

    Dimensions

    43.81 x 56.2 cm (17 1/4 x 22 1/8 in.)

    Accession Number

    64.464

    Medium or Technique

    Oil on canvas

    Not On View

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  • Diego Rivera

    1923
    Edward Weston (American, 1886–1958)

    Description

    Inscription

    L.r. on mount in pencil: Edward Weston 1923

    Provenance

    Carl Siembab Gallery, Boston, MA; purchased October 1967.

    Credit Line

    Benajmin Pierce Cheney Donation

    Details

    Dimensions

    Image/Sheet: 18.9 x 23.4 cm (7 7/16 x 9 3/16 in.) Mount: 33.5 x 28.0 cm (13 3/16 x 11 in.)

    Accession Number

    67.926

    Medium or Technique

    Photograph, gelatin silver print

    Not On View

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  • Claude Monet and Mr. Perry at Giverny

    1890–95
    Lilla Cabot Perry (American, 1848–1933)

    Description

    (Note: gelatin silver print without baryta layer present.)

    Provenance

    Mrs. Henry Lyman, Boston, MA; gift May 1968.

    Credit Line

    Gift of Mrs. Henry Lyman

    Details

    Dimensions

    Image/Sheet/Mount: 29.3 x 23.5 cm (11 9/16 x 9 1/4 in.)

    Accession Number

    68.178

    Medium or Technique

    Photograph, gelatin silver print

    On View

    Edward and Nancy Roberts Family Gallery (Gallery LG26)

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