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    The Artist At Work Gallery 1 - Center View

      The Artist At Work ... Photo 1295_gpr Photo 1296_gpr Photo 1297_gpr Photo 1300_gpr

      Antoine Trouvain Montdidier, France, 1656 – Paris, 1708 *Self-Portrait*, after a painting by Jean Jouvenet, 1707 Engraving Archer M. Huntington Museum Fund, 2003.142

      Johann Gotthard von Müller Bernausen, Germany, 1747 – Stuttgart, Germany, 1830 *Self-Portrait*, after a painting by Antoine Graff, 1797 Engraving Gift of Mr. and Mrs. Isidore Simkowitz in memory of Amy Cecelia Simkowitz-Rogers, 1997.282

      Pierre Drevet Paris, 1663–1738 *Self-Portrait*, after a painting by Hyacinthe Rigaud, 1721 Engraving The Leo Steinberg Collection, 2002.1905

      Achille Devéria Paris, 1800–1857 *Self-Portrait*, circa 1830 Lithograph on chine collé The R. E. Lewis Memorial Study Collection, 2010.16

      Jean-Jacques de Boissieu Lyon, France, 1736–1810 *Self-Portrait*, 1796 Etching, drypoint, engraving, and roulette Jack S. Blanton Curatorial Endowment Fund, 2003.6

      William Henry Mote English, 1803–1871 *Rosa Bonheur*, after a design by R. Buckner, circa 1856 Stipple engraving Gift of E. Wyllys Andrews IV, G1964.1.67

      Nicolò della Casa French, active 1543–48 in Italy *Baccio Bandinelli*, circa 1543–48 Engraving The Teaching Collection of Marvin Vexler, '48, 1999.75

      Francesco Bartolozzi Florence, Italy, circa 1727 – Lisbon, Portugal, 1815 *Angelica Kauffmann*, after a painting by Sir Joshua Reynolds, 1780 Etching and stipple engraving The Leo Steinberg Collection, 2002.1226 Click the link below to view all of the works by Kauffmann in the Blanton's collection: http://collection.blantonmuseum.org/artist-maker/info/4896?sort=3

      Lovis Corinth Tapiau, East Prussia (now Gvardeysk, Russia), 1858 – Zandvoort, The Netherlands, 1925 *Selbstbildnis an der Staffelei* [*Self Portrait at the Easel*], from *Die Familie* [*The Family*], 1918 Drypoint Transfer from the General Libraries, The University of Texas at Austin, 1980.72.10/10

      Georg Friedrich Schmidt Schönerlinde, Germany, 1712 – Berlin, 1775 *Self-Portrait*, 1752 Etching Blanton Museum Purchase, 2003.29

      Lucas Vorsterman the Elder Zaltbommel, The Netherlands, 1595 – Antwerp, Belgium, 1675 *Jacques Callot*, after an engraving by Anthony van Dyck, from the *Iconography*, circa 1630–45 Engraving The Leo Steinberg Collection, 2002.1145

      Dirk Vellert Amsterdam, The Netherlands (?) 1480/85 – Antwerp, Belgium, after 1547 "*Saint Luke Painting the Virgin*", 1526 Engraving The Leo Steinberg Collection, 2002.2045

      Michael Wolgemut Nuremberg, Germany, 1434/37–1519 "*Saint Luke Painting the Virgin and Child, from the Weltchronik, or Liber Chronicarum* [The Nuremberg Chronicle"], 1493 Woodcut with hand coloring Gift of Tobey C. Moss, 2005.64

      Jacob Matham Haarlem, The Netherlands, 1571–1631 "*Saint Luke Painting the Virgin, after a design by Hendrick Goltzius*", circa 1614 Engraving The Leo Steinberg Collection, 2002.2043 Saint Luke is known as the patron saint of artists because, according to medieval tradition, he painted the Virgin and Child on several occasions. Many painters’ guilds and academies were therefore dedicated to Saint Luke, and his story was a popular subject among artists. Whether Luke painted the Virgin and Child from life or from a holy vision varies between accounts and artistic depictions, as seen here. Both Michael Wolgemut and Jacob Matham depict Luke at an easel that bears his painting of the Virgin and Child, but neither includes the models, leaving the viewer to imagine the exact nature of Luke’s encounter with them. Dirk Vellert, on the other hand, clearly shows the Virgin seated on the floor of Luke’s studio, with her son in her lap. This composition creates a remarkably down-to-earth image of Saint Luke’s artistic meeting with these holy figures and suggests the special relationship artists can have with the divine.

      Unknown French or Italian artist "*An Allegory of the Arts*", 18th century Red chalk The Suida-Manning Collection, 275.1999

      François Boucher Paris, 1703–1770 "*The Graces at the Tomb of Watteau, frontispiece to the Figures de différents caractères, de paysages, et d’étude dessinés d’aprés nature par Antoine Watteau, vol. II*", 1728 Etching Archer M. Huntington Museum Fund, 1995.33

      Salvator Rosa Naples, Italy, 1615 – Rome, 1673 "*The Genius of Rosa*", circa 1662 Etching and drypoint Archer M. Huntington Museum Fund, 1992.289 In this allegorical self-portrait, Salvator Rosa depicts his Genius—his guiding spirit—reclining at the lower right. Rosa’s Genius ignores the cornucopia of coins spilling out beside him, instead looking to the female figure of Sincerity, to whom he offers his heart. Meanwhile, Liberty places a cap historically associated with freedom on Genius’s head. Rosa was one of the fiercest early champions of artistic autonomy, arguing he should not be beholden to a patron’s wishes. Indeed, Rosa is said to have denied advance payment for his paintings, so that he could feel free to work as he wished. The inscription, which translates to “Sincere, free, fiery painter, and equable, despiser of wealth and death, this is my genius,” emphasizes Rosa’s independence and echoes his frequent written critiques of contemporary society.