Photographic reproduction of oil painting portrait of Samuel Meyer Ehrenberg Portraits Men

Original painting with Louis Rosenzweig, New Haven, CT

Photograph of oil painting portrait of Samuel Loewen; Berlin Portraits Men

Handwritten description on verso

Photograph of oil painting portrait by Olaf Segerfeldt of Rudolf Simonis Portraits Men

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Reproduction of oil painting portrait of Liepmann Seligmann Danziger Portraits Men

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Reproduction of oil painting portrait of Judith Danziger nee Nathan Portraits Women

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Reproduction of oil painting portrait of Sara Pesche Polack nee Ruben Hirsch Portraits Women

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Reproduction of oil painting portrait of Ernestine Salomonsen nee Philip Portraits Women

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Photograph of oil painting portrait of Samuel Loewen; Berlin Portraits Men

circa 1747 in Potsdam - 30 November 1827 in Berlin; father of Rosa Valentin

Wrapped fragments : Drapery, the eighteenth century portrait bust and the male subject

The depiction of drapery (generalised cloth as opposed to clothing) is a well-established convention of Neo-Classical sculpture and is often downplayed by art historians as of purely rhetorical value. It can be argued however that sculpted drapery has served a spectrum of expressive ends, the variety and complexity of which are well illustrated by a study of its use in portrait sculpture. For the Neo-Classical portrait bust, drapery had substantial iconographic and political meaning, signifying the new Enlightenment notions of masculine authority. Within the portrait bust, drapery also served highly strategic aesthetic purposes, alleviating the abruptness of the truncated format and the compromising visual consequences of the “cropped” body. With reference to Joseph Nollekens’ portraits of English statesman Charles James Fox and the author’s own sculptural practice, this paper analyses the Neo-Classical use of drapery to propose that rendered fabric, far from mere stylistic flourish, is a highly charged visual signifier with much scope for exploration in contemporary sculptural practice.

Revolutionary self portrait

'Revolutionary Self Portrait' (2009) is a sculptural self-portrait. The work comprises a bust engulfed in hair and a scalloped pedestal stand. Historically, divine energy has frequently been depicted using fluid forms - drapery, clouds and occasionally hair. These forms and associations act as a departure point for this sculpture in which the figure is depicted in a state of inundation by billowing tufts hair. The work was also inspired by the tendency of great 19th century utopian thinkers - for example Marx, Bakunin and Kropotkin - to wear large beards. Within both traditions, the language of heroic subjectivity is amplified by a sculptural extension of the body. In 'Revolutionary Self Portrait' however, this extension threatens to suffocate the subject - a gesture made all the more ironic due to the fact that the artist himself is incapable of growing a beard. The work was selected for the National Artists' Self Portrait Prize, University of Queensland Art Museum, 2009.

Portrait of Israel Meyerhof.

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