Edward Hill Lacey Bradford, England, 1891 – London (?), 1967 *The Studio Mirror*, circa 1925 Drypoint Transfer from the Humanities Research Center, The University of Texas at Austin, G1969.6.324
*image not available* Pablo Picasso Málaga, Spain, 1881 – Mougins, France, 1973 *Sculptor and Model*, plate 39 from *Suite Vollard*, 1933 Etching The Leo Steinberg Collection, 2002.1988 Art and love have long been connected in many cultural traditions. The story of Pygmalion, as described in Ovid’s *Metamorphoses* and depicted at center here by Hendrick Goltzius, describes an artist who fell so ardently in love with the beautiful female figure he sculpted that she came to life. Such stories are foundational to our ideas about artistic muses: people (real or imagined) whose beauty provide an essential spark for artistic genius. Pablo Picasso shows a sculptor working side-by-side with his model to create her likeness; the model is recognizably inspired by Picasso’s lover Marie-Thérèse Walter. Edward Hill Lacey also works with a model, sketching her statuesque form from her reflection in a mirror—a mirror which makes it difficult to ascertain whether Lacey’s penetrating gaze is really directed towards his model or himself.
Hendrick Goltzius Mülbracht, Germany, 1558 – Haarlem, The Netherlands, 1617 *Pygmalion and Galatea*, 1583 Engraving The Leo Steinberg Collection, 2002.2171
Enea Vico Parma, Italy, 1523 – Ferrara, Italy, 1567 *The Academy of Baccio Bandinelli*, after a design by Baccio Bandinelli, circa 1550 Engraving Archer M. Huntington Museum Fund, 2002.2813 The works along this wall depict the various ways artists have gathered to work and learn together over the centuries. Enea Vico’s depiction of Baccio Bandinelli’s academy emphasizes the scholarliness of the gathered men and youths, all who work diligently on their drawings. They are dressed as gentlemen, and Bandinelli is depicted at the far right wearing the cruciform badge of a Knight of Santiago. The fire, candle, and lamplight suggest the intellectual illumination of academic training. Giulio Tomba’s print of Francesco Rosaspina’s drawing school portrays artists completely absorbed in their work at a long table, while spectators gather around them in a room filled with prints. George Bellows depicts a scene reminiscent of the life drawing classes taught by his mentor, Robert Henri. Henri regularly offered evening classes for young men who worked during the day, reflecting the opening up of art-making to a broader range of people. Though long dominated by men, art schools and academies gradually began admitting women, as pictured in Dominique Vivant Denon’s lithograph of a female artist who proudly shows off her work.
Giulio Tomba Faenza, Italy, before 1780 – Bologna, Italy, 1841 *Rosaspina's Zeichnungsschule* [*Rosaspina's Drawing School*], after a design by Felice Giani, 1811 Etching Jack S. Blanton Curatorial Endowment Fund, 2008.10
George Wesley Bellows Columbus, Ohio, 1882 – New York, 1925 *The Life Class, First Stone*, 1917 Lithograph Gift of the Still Water Foundation, 1992.23
Dominique Vivant Denon Givry, France, 1747 – Paris, 1825 *Scene in an Artist’s Workshop: A Young Woman Painter Showing Her Work*, 1819 Lithograph in brownish gray ink Archer M. Huntington Museum Fund, 1982.722