Farm Girls in Naturalist Painting 4: More Goose Girls

Posted on April 11, 2021 by Christian

One year ago, I started this series of articles on naturalist paintings of rural girls, and I pointed out that in the 19th century, peasant life was a theme of predilection for the schools of social realism and naturalism, both as a focus on the fate of poor toiling people and as an expression of interest in nature, in contrast with modern urban life.

In peasant families of that time, children participated in farm work, and it seems that herding flocks of geese was a girl’s job. Thus, many 19th century paintings represented goose girls, and indeed, my first article was devoted to The Goose Girl of Mézy by Léon Augustin Lhermitte. Moreover, this topic was the subject of the German fairy tale Die Gänsemagd, collected by the Brothers Grimm and published in Grimm’s Fairy Tales in 1815, which has been illustrated by many artists.

I will thus present here a selection of such paintings. The criteria for my choice have been the quality of the painting and of its digital reproduction, its naturalistic style (as opposed to later schools of Impressionism and Expressionism), and that it shows a young girl, not an adult woman.

I start with Jules Bastien-Lepage, the painter of Pauvre Fauvette presented in my second article. This “goose girl”, dated around 1875, belongs to the Philadelphia Museum of Art:

Jules Bastien-Lepage – Goose girl (c1875)

One of the most famous painters of the rural world is Jean-François Millet (1814–1875). Many people have seen his Des Glaneuses (1857), showing women gleaning in a field after harvest, and L’Angélus (1857–59), showing a peasant couple praying at the sound of a church bell. Born in the hamlet of Gruchy (now part of the village Gréville-Hague) in Normandy, he worked in the family farm until 1834, when he left to study painting in Cherbourg, then in Paris. In 1849 he moved to Barbizon, east of Paris, where he remained for the rest of his life; he is one of the founders of the famous “Barbizon school” of realist painting.

He briefly returned to his birthplace in 1856, where he painted the following work, now at the National Museum of Wales (image from Tutt’[email protected]):

Jean-Francois Millet – The goose girl at Gruchy (1856)

In the 1850s and 1860s, he painted several goose girls. One was exhibited at the 1867 Salon, about which he wrote to his friend Sensier: “I want to make the screams of my geese ring through the air. Ah! life, life! the life of the whole!” Here is one these paintings, dated 1866–67; previously owned by Sensier, it belongs now to the Tokyo Fuji Art Museum.

Jean-François Millet – The goose girl (1866-67)

He also painted a nude “goose girl,” but this one is a woman rather than a girl.

The English painter and illustrator Alice Mary Havers (1850–1890) was popular for her genre paintings of village women and rural landscape. Here are two of her goose girls in a beautiful landscape (images from the Art Renewal Center):

Alice Mary Havers – Goosey, goosey gander (date unknown)

Alice Mary Havers – The goose girl (date unknown)

The Irish novelist Edith Somerville (1858–1949), also a suffragette and Irish nationalist, painted and sketched, illustrating picture books. Here is (from the Crawford Art Gallery) an oil painting showing a goose girl who looks sulky, as she has befriended a goose and does not want to see it served for dinner:

Edith Somerville – The goose girl (1888)

Johann Till the Younger (1827–1894) was an Austrian genre painter. He trained in Vienna under his father Johann Till the Elder, and studied at the Academy of Fine Arts in Vienna under Leopold Kupelwieser and Christian Ruben. He was member of the Künstlerhaus, an association of visual artists in Vienna. The following image comes from Tutt’[email protected] Masterpieces:

Johann Till – The little goose girl

Gustaf Theodor Wallén (1860–1948) was a Swedish social realist painter, graphic artist, cartoonist and sculptor. He studied at the Academy of Art under George von Rosen. In 1887 he won a travel award to study in Paris at the Académie Colarossi and, under William Bouguereau, at the Academie Julian. The following image comes from the Art Renewal Center:

Gustaf Theodor Wallén – The little goosegirl

Václav Brožík (1851–1901) was a Czech academic painter. He went to Paris in 1876, and for the rest of his life he divided his time between Paris and Prague. He painted scenes from Czech history, portraits, genre paintings, and landscapes. He was influenced by the two great French naturalist painters of rural life, Jean-Francois Millet and Jules Breton, as can be seen in the following work in the National Gallery in Prague:

Václav Brožík – Goose girl (1880s)

The Polish realist painter Antoni Gramatyka (1841–1922) studied art in Kraków and Vienna. He mostly worked in Kraków and its neighborhood. He painted landscapes, portraits, church polychromes, day-to-day life in Kraków and rural scenes in surrounding villages.

Antoni Gramatyka – Girl with geese (1881)

Finally, the great academic painter William-Adolphe Bouguereau, who had so often represented peasant girls, has also made one goose girl (image from the Art Renewal Center):

William-Adolphe Bouguereau – The goose girl (1891)

Farm Girls in Naturalist Painting 3: A Harvest of Brown Eyes and Auburn Hair

Posted on April 23, 2020 by Christian

After poor French peasant girls covered with rags, we will now see English beauties wearing a clean white pinafore while they take part in harvesting and haymaking … probably a less realistic view of rural life.

The son of a painter, George Clausen was born in London on April 18, 1852. He first trained as a draughtsman in the office of the company George Trollope & Sons. He studied at South Kensington School of Art between 1873 and 1875. Then he worked with several academic painters, first in the studio of Edwin Longsden Long, next in 1883 at the Académie Julian in Paris, under William-Adolphe Bouguereau and Tony Robert-Fleury.

He soon showed an interest in country life and landscape, and he was particularly influenced by Jean-François Millet and Jules Bastien-Lepage. He admired the naturalism of Bastien-Lepage, and he would write a long essay about him in André Theuriet’s memoir; he praised him while seeing a limitation in his “literal representation” of nature. Indeed, Clausen would to some extent be influenced by Impressionism.

He loved to paint the countryside and rural life in northwest Essex. His major works can be found on Wikimedia Commons, the Art Renewal Center site, ArtUK, and Tate. Many drawings by him, as well as some pastels and watercolours, can be found in the Royal Academy Collection.

Clausen won official recognition, being elected to the Royal Academy, first as an Associate in 1895, then as Academician in 1906, and he taught painting there. During World War I he served as an official war artist. He was knighted in 1927. He died in Newbury, Berkshire, on November 22, 1944. Further details about his life and works can be found on The Victorian Web and the site of The Hundred Parishes Society.

I now present a few paintings by Clausen of peasant girls involved in harvesting or haymaking. They all wear a white dress or a white pinafore. I suspect that the scenes must be idealised, as it is difficult to remain so clean while participating in a rather dirty work.

A girl in a wheat field:

George Clausen – Brown eyes (1891)

Next, one near a basket of wheat, while a man harvests behind:

George Clausen – Little Rose (1889)

Here the background looks like a wheat field:

George Clausen – Head of a young girl (1890)

Here we don’t see a field, but the title says all:

George Clausen – Young rural girl (1896)

The rake indicates that the girl has been working:

George Clausen – Noon in the hayfield (1897)

This girl is not working, but going to school; however, she still wears a pinafore and she is walking along a field:

George Clausen – Natte / A schoolgirl (1889)

Readers will probably have noticed that these girls all have brown eyes and auburn hair. Maybe Clausen selected them because these colours are in harmony with those of their work environment: straw, hay, trees and soil. Indeed, he painted several other girls with different eye or hair colours and in a different environment; I mention a few ones here, with a link to the images. First a girl with auburn hair but blue eyes; she still has a white pinafore, but the background only vaguely reminds of hay. Next, two girls with black hair and green eyes: one with a greenish scarf and a dark green coat, surrounded by bright greenery, and one in a green meadow. Finally a girl indoors, with black hair and brown eyes, in front of a brown wall.

We have thus seen how in the choice of a painting, the harmony between the subject and the topic can sometimes involve some little details that would escape the ordinary onlooker.

Farm Girls in Naturalist Painting 2: Pauvre Fauvette

Posted on April 21, 2020 by Christian

After The Goose Girl of Mézy, here is another rural girl covered with rags.

Jules Bastien-Lepage was born on November 1, 1848, in the village of Damvillers, near Verdun. His father owned a vineyard. He went to Paris in 1867, where he worked some time at the postal service. His first application to the École des beaux-arts de Paris was unsuccessful, but he was nevertheless allowed to follow courses as an aspiring student. The next year he entered the workshop of the academic painter Alexandre Cabanel, where he was trained in drawing. In October 1868, he was finally admitted to the École des beaux-arts. In 1870-71, he fought in the Franco-Prussian war, and was wounded. Then he returned home, where he painted villagers.

In 1875, he won the second place for the famous “Grand Prix de Rome” with his painting L’Annonciation aux bergers. He would soon be recognized in France as the leader of the emerging Naturalist school. His brother Émile (1854–1938) also became a painter, studying with him. Jules died of cancer on December 10, 1884 in Paris, at the age of 36.

His works can be found on Wikimedia Commons, the Art Renewal Center site, WikiArt, and ArtUK. They include many portraits, but also depictions of rural life, in particular work in the fields.

I present here my selection, the portrait of a poorly clad little farm girl. It is an oil painting on canvas, 162.5 × 125.7 cm² (63¾ × 49¼ in²). This image from the Art Renewal Center, with its predominant green colour, is different from most other renderings, which have large patches of yellow and orange. I cannot ascertain which one is more faithful to the original painting, since I don’t know in which month it was made: green would prevail in spring, and orange in autumn.

Jules Bastien-Lepage – Pauvre Fauvette (1881)

The French title translates as “Poor Warbler.” Indeed, the French word fauvette translates as “typical warbler” (a bird in any species of the genus Sylvia). It is also a forename for girls, but a quite rare one: according to French official statistics, only 76 girls born in France between 1900 and 2018 were named Fauvette (and none later than 1970). The bird’s name comes from the word fauve that designates the fawn colour, a somewhat dark orange—the art school of Fauvism is named after that colour. This makes me even more puzzled about the colour of the landscape in the original painting: is it a “fauve” scene?

Bastien-Lepage did another painting of a poorly-clad peasant girl, titled Young Girl. Compare the two renderings of it by the Art Renewal Center and by WikiArt.

My third post in the series will be devoted to the peasant girls painted by George Clausen, in particular to the colour of their eyes and hair, which is in harmony with their participation in harvesting and haymaking.

Farm Girls in Naturalist Painting 1: The Goose Girl of Mézy

Posted on April 19, 2020 by Christian

This post is the first one in a series of short articles devoted to naturalist paintings of rural girls. Peasant life was a frequent theme in 19th century painting. On the one hand, it expressed an interest in social issues, in particular the fate of poor toiling people. On the other hand, the rural world represented peace, in contrast with the hectic life and rebellious working class of large cities. Among academic painters, William-Adolphe Bouguereau is known for his numerous paintings of dignified peasant or gypsy girls, generally shown with a decent clothing that did often not match their sordid life. The schools of social realism and of naturalism also took an interest in rural life, but they rather showed peasants as they usually were, dirty and covered with rags.

Léon Augustin Lhermitte was born on July 31, 1844, in Mont-Saint-Père, a village along the river Marne in the the department of Aisne, east of Paris. He studied drawing, first at the “Petite École” (now École nationale supérieure des arts décoratifs de Paris) under the teaching of Horace Lecoq de Boisbaudran, then at the École des beaux-arts de Paris. He afterwards had a successful career, winning many awards and international recognition. He made an innovative use of pastels and was admired by Vincent van Gogh. He died in Paris on July 28, 1925, and since then he has fallen into oblivion. He is the great-grandfather of the French actor Thierry Lhermitte.

As with his predecessor Jean-François Millet (1814–1875), peasant life was the main topic of his paintings. See his works shown in Wikimedia Commons and the Art Renewal Center site. He was dubbed “the painter of harvesters.”

I present here my favourite among his works. It is an oil painting on canvas, 160 × 85.1 cm² (62¾ × 33½ in²). Although it certainly had an original title in French, it is known by the English one, “The Goose Girl of Mézy.” It shows a girl in rags gleaning for wheat after harvest, while she guards her flock of geese. The place of the painting is the village of Mézy-Moulins, neighbouring Lhermitte’s birthplace Mont-Saint-Père.

Léon Augustin Lhermitte – The Goose Girl of Mézy (1892)

There is a slightly different rendering of this painting on the Art Renewal Center site (full-size image file here).

I found a contemporary imitation of this painting.

My next two posts in this series will deal with paintings by Jules Bastien-Lepage and George Clausen.

Pioneering Female Photojournalism: Esther Bubley

Posted on August 20, 2016 by Arizona

Esther Bubley was a freelance photographer that was active from 1945 to 1965. Many of her images are highly valued as historical documents as they cover a wide array of different social subjects. Mostly she photographed people going about their everyday lives, like workers and travellers on the American interstate bus network, children at play, medical workers and their patients or family life at home. She was remarkable as photo journalism was a male-dominated field at the time. So for a woman to be have an ongoing job in this field that also gave her a secure income was rare. Most images she made were not staged, which allowed her to take some truly intimate and natural photographs. The artist said she achieved this by becoming part of the daily rhythm of the hospital and disappearing into the background with her camera.

Esther Bubley – Children Watching the Animals at the National Zoological Park (1943)

Esther Bubley – Children Playing in a Fountain in Dupont Circle (1943)

Esther Bubley (1921–1998) was born in Phillips, Wisconsin, the fourth of five children to Louis and Ida Bubley. She was inspired to start photography after viewing LIFE magazine and the Farm Security Administration (FSA) images of depression-era America. After high school, Esther spent two years at Superior State Teachers College then spent her third year at the Minneapolis School of Art where she studied photography.

In 1941 she moved to New York City to become a professional photographer and her first paid job was at Vogue where she photographed still-life images. Disliking this job, she moved to Washington D.C. where she found employment at the National Archives and spent her days making microfilm. Soon after, in the fall of 1942, Roy Stryker hired her as a darkroom assistant at the Office of War Information (OWI). During her spare time the artist made images of the daily events occurring in the Washington area. Her employer noticed the quality of these images and thought she would be able to add to the photo archives of the OWI. He hired her as a staff photographer and sent her on a six week journey across the country to document the lives of Americans during World War II. These photographs were then added to the OWI archives, which are now housed at the Library of Congress.

Esther Bubley – Spectators at the Parade to Recruit Civilian Defence Volunteers (1943)

Esther Bubley – Passengers Standing in the Aisle of a Greyhound Bus (1943)

In late 1943, when Stryker left the government to set up a public relations project for Standard Oil Company (New Jersey) (SONJ), he brought with him many OWI workers, which included Bubley. Her work at SONJ was part of a huge photo-documentary project that had the aim of promoting the business and enhancing its reputation. Two of the artists’ best known projects come from this period. The first was a portrayal of the oil town of Tomball, Texas and the second, the “Bus Story,” which showcased the role of long-distance bus travel in American life that is accomplished through the use of oil products. Some images are now at the University of Louisville.

Esther Bubley - Children playing near schoolhouse, Tomball, Texas (1947)

Esther Bubley – Children Playing Near Schoolhouse, Tomball, Texas (1945)

Esther Bubley – Waiting Room at Bus Terminal (1947)

During this period she was briefly married to Edwin Locke, but they soon divorced. By 1947 Bubley’s work had expanded and she was now freelancing for several organisations. One of these organisations was the Children’s Bureau, a Federal child welfare agency. Over several years her images appeared in their journal, The Child, including more than thirty covers.

Esther Bubley - Child Monthley (Cover) (1947)

Esther Bubley – Child Monthly (Cover) (1949)

The following year, her work made its first appearance in a group exhibition called ‘In and Out of Focus’—her first of four appearances—at the Museum of Modern Art (MoMA). A magazine that she created a lot of images for was the Ladies’ Home Journal. There she produced a photo essay on mental illness, which was awarded a first prize in the Encyclopaedia Britannica/University of Missouri School of Journalism contest. The medically-themed photos continued when she was hired by the Pittsburgh Photographic Library to live in the Pittsburgh Children’s Hospital and document the activities within, a commission which took several months. Originally intended as a story in LIFE magazine, this was cancelled in favour of documenting the Queen Elizabeth II coronation. However, thirteen prints from this series were made publicly available when they were displayed in the exhibition ‘Diogenes with a Camera,’ held at MoMA. She also documented life at Blythedale Convalescent Home for Children, in New York, for the Children’s bureau. An example of this work is displayed below.

The artist’s most internationally recognised work appeared in 1953 when she was hired by UNICEF and the French government to travel to Morocco to photograph a program to treat trachoma. Over several months she travelled around Ouarzazate documenting people receiving medical treatment and the positive aspects of UNICEF’s work.

Esther Bubley - Esther Bubley's World of Children (1981) (1)

Esther Bubley – (Untitled) (1948)

Esther Bubley – African Child (1953)

Bubley produced many other overseas photo projects, such as photographing the areas of Central and South America where Pepsi-Cola sold and manufactured their product. These images were then published in their corporate magazine Panorama, which was distributed to their bottlers and shareholders. Then in 1964 and ’65 Pan American World Airways sent her on a world tour to document the areas they serviced. These images were then published in their corporate magazine The Clipper, which was distributed to employees and shareholders.

Between 1950 and 1965 the photographer freelanced for many magazines; her stories focused on medicine, families and social issues. Many of her articles appeared in LIFE—two were cover stories. Additionally, she created a dozen photo stories for the Ladies’ Home Journal series ‘How America Lives,’ which ran intermittently between 1948 and 1960. The series was very popular and was expanded into two new series: ‘How Young America Lives,’ which profiled teenagers, and ‘Profiles on Youth,’ about children. Also of note during this decade was the appearance of several images in ‘The Family of Man’ exhibition.

Esther Bubley – LIFE (Cover) (1951)

Esther Bubley - Esther Bubley's World of Children (1981) (2)

Esther Bubley – (Untitled) LIFE magazine (1961)

Esther Bubley - Esther Bubley's World of Children (1981) (3)

Esther Bubley – (Untitled) Ladies’ Home Journal (1948)

After 1965 the artist reduced her workload, as the frequent travelling became tiring. Instead, she focused on projects of personal interest and photographed the New York area, where she lived. During this time she created a book featuring macro photography of plants, two books about pets and a book documenting 159 of her child photographs entitled Esther Bubley’s World of Children. Unfortunately the book doesn’t mention titles or dates for the images contained within. She died in New York City, of cancer, on March 16, 1998.

The website about Esther Bubley’s career contains a lot of information about the work she completed, though there are only about 200 images of average quality. Another book, which contains about thirty-six images by Bubley, appears on archive.org. Entitled ‘Your Child from 6 to 12,’ it is an interesting read detailing child care in 1949.

A Master of Lyon: Tony Tollet

Posted on August 14, 2016 by Pip Starr

Tony Tollet was a Lyon-based French painter who had one of the longest and most distinguished careers of his time. Born in 1857, he began his artistic career as a child when, bed-ridden because of illness, he began to produce drawings that impressed his father, who then encouraged him to take up art. In 1873, the 16-year-old Tollet did precisely that, taking up training at the École des beaux-arts de Lyon, where he would flourish under the tutelage of Jean-Baptiste Danguin and Michel Dumas. A mere six years later, he won the Prix de Paris, allowing him to further his education at the even more prestigious École des beaux-arts de Paris. Here he studied under such world-class painters as Alexandre Cabanel, Luc-Olivier Merson and Albert Maignan, and in Paris he also befriended the Flandrins, a well-established family of painters.

In 1885, he won the 2nd Prix de Rome for a piece entitled Themistocles in the Home of Admete (which I’ve not been able to track down on the internet). In 1889, with his mother growing ill, he returned to Lyon and here remained for the rest of his life, marrying Jeanne Pailleux, who bore him six children. He set up his own studio in Lyon where he painted the portraits of notable local personages and taught drawing in the municipality of Guillotière. He suffered a major setback in 1909, when his studio caught fire and was destroyed, along with all of the works contained therein. Luckily, this did not stop Tollet from starting over, and he continued to paint until 1942, well into his eighties by then. Having accomplished many honors and held several important official positions in Lyon, Tollet finally passed away in 1953, at the age of 95.

One of the artist’s most recognizable paintings is this portrait of the Bernard children, painted around 1920. This piece would of course be classified as Realism, but I feel there’s a nice balance here between the romanticism of the 19th century and the modernity of the 20th.

Tony Tollet – Portrait of the Bernard Family in Lyon (ca. 1920)

Unfortunately, I could never track down a color version of this piece. It is certainly a sweet painting, reminding me somewhat of the work of Mary Cassatt, though with more of a Victorian sensibility than Cassatt’s work tends to have.

Tony Tollet – Le secret

Tony Tollet – Happy Children

And finally, my favorite of Tollet’s paintings, an allegorical work. The central subject of this piece is Flora, Roman goddess of flowers and springtime. Little girls, representing the springtime of human femininity, fit in nicely here.

Tony Tollet – Flore, symbole du Printemps

Laurits Tuxen

Posted on July 28, 2016 by Pip Starr

Danish painter and sculptor Laurits Tuxen was a member of the Skagen Painters, a group of Scandinavian artists who met in Skagen, Denmark’s northernmost town (situated at the very tip of the Skagen Odde peninsula) during the last decades of the Victorian era. The set also included husband and wife teams Michael and Anna Ancher and Peder Severin and Marie Krøyer, as well as Viggo Johansen, Carl Locher and Christian Krohg. These artists generally preferred outdoor (en plein air) painting, for which the sparsely populated Skagen was ideal. Peder Severin Krøyer was unquestionably the group’s anchor. One of the most popular Danish artists of his time and a dashing, dynamic and magnetic figure, he will get his own post here eventually. But for now, back to Tuxen.

Laurits Tuxen was raised in Copenhagen, where he studied at the Royal Danish Academy of Fine Arts. In addition to being an early member of the Skagen Painters, Tuxen traveled quite a bit, painting landscapes and portraits, mainly of European and Russian royalty. His style was primarily Realist, though he also dabbled in Impressionism. The following piece falls pretty solidly into the first category, though there are Impressionistic touches here and there. The painting features three young girls in their tween to early teen years on a beach in Skagen, two of them nude. It’s not a particularly unusual painting for its time. In fact, what’s most fascinating about this piece for me is that a set of photographs were taken of this scene as it was being painted, an unusual occurrence for artists of the Edwardian era, for which photography was still a fairly cumbersome activity, though its popularity was growing by leaps and bounds. Anyway, here is the painting:

Laurits Tuxen – Sommerdag på Skagen Strand med figurer (1907)

We also have quite a bit of historical data on this painting. The standing girl and the girl lying on the beach in a pink dress were Tuxen’s own daughters, Yvonne and Nina, aged 13 and 10 respectively at the time. Yvonne was born in 1894, Nina in 1898. The third girl is almost certainly Peder and Marie Krøyer’s daughter Vibeke Krøyer, born in 1895, so she would’ve been about 12 or 13 here as well. She appears to have her father’s red hair. Now, here are the photographs of the scene, showing Tuxen at work in the background. You’ll see that, despite her nudity in the painting, Yvonne is fully clothed in the photos. This modesty may have been for the sake of the photographer, who has not been identified, but also it may have been unnecessary for her to strip, as the artist may simply be touching up some of the details. If you look closely, you can see that the painting appears to be pretty close to completion.

Photographer Unknown – Laurits Tuxen painting ‘Sommerdag på Skagen Strand med Figurer’ (1)

Photographer Unknown – Laurits Tuxen painting ‘Sommerdag på Skagen Strand med Figurer’ (2)

By the way, there is a wealth of information about this group and several more photos and artworks featuring these three girls, including some closeups (they were all quite beautiful in my estimation) at this site, where the above photos were borrowed from, though it’s all in Danish. If you’re willing to slog through it and do the translations, it is quite a fascinating look at the life of these artists and their children.

Modern and Vintage Dolls

Posted on May 12, 2016 by Christian

In a previous article last year, I introduced the topic of porcelain dolls, illustrating it with my own acquisitions. My collection having grown both in quantity and in diversity, I think that the time has now come to post a sequel.

There are many types of dolls. First they can be made with various materials: cloth, plastic, etc. The ones I own have their head (and generally the visible body parts such as hands) made from a matte type of porcelain (without enamel) called bisque (biscuit in French). But the rest of the body can be made in several ways, as I will explain. Then they can represent different types of people. Mine belong to the category called baby (bébé in French), which means in fact small children; but in that category, I never buy babies and toddlers, nor boys; I collect only girls looking to be between the ages of 5 and 12. Finally, dolls vary according to the epoch of their making. My previous article showed what one calls modern dolls, most of them were recent models produced for the tourist market.

I will start with five modern dolls bought since last year. Their head, hands and forearms, feet and lower legs are in bisque, but the rest of the body is made with padded tissue. The assembling of limbs is not always perfect, so that while they are held from their waist on a metallic holder (under their dress), their hanging legs can slightly slant to one side, and their feet be somewhat turned. One can minimize this defect in photography by taking the picture from a suitable angle and rotating it by 1 or 2 degrees.

I show first a small redhead (40 cm without the hat), with rustic clothes.

The next four dolls (as the last two in the previous article) were made by the German company Reinart Faelens Kunstgewerbe GmbH, whose brand name is rf collection. On the label one can read:

Decorative doll for collectors, minimum age: 14 years!
No toy! Small parts can break and be swallowed!

Indeed, they are not intended for little girls, but for adults. I show here my two loveliest ones. I consider them twins: I bought them on the same day, they have the same size (42 cm without the hat), and their clothes are similar.

Reinart Faelens Kunstgewerbe GmbH – rf collection no. 120691 (2016)

Reinart Faelens Kunstgewerbe GmbH – rf collection no. 120707 (2016)

The next one is peculiar; she is not standing, but she has to sit on a chair (her knees are folded); she is approximately 55 cm long.

Reinart Faelens Kunstgewerbe GmbH – rf collection (2016)

I call the last one (54 cm without the hat) the green fairy, because of her green dress, but also because she stands next to the glass cabinet where I keep my absinthe.

Reinart Faelens Kunstgewerbe GmbH – rf collection (2015)

Photographed from another angle, she seems to be dreaming.

Reinart Faelens Kunstgewerbe GmbH – rf collection (2015)

Now I show my big doll, she measures exactly one meter. I bought her last year in a flea market in Strasbourg. As with modern dolls, her head and hands are in bisque, and her body in padded tissue, but her lower legs and feet seem to be made of painted tissue covering some light and flexible matter, maybe cardboard. As it often happens with second-hand dolls, her soiled face needed some washing, and her dusty bloomers and petticoat required a laundry. She has been featured in Agapeta, where I showed her sprawling on a sofa. But I decided that her dignity (and my comfort) required buying a chair for her. And she even got her own doll, a very old one.

Before describing the latter, I must introduce the topic of vintage bisque dolls. They often date from the early 20th century, sometimes from the 19th. They are rather expensive, generally costing several hundred euros; I even saw a beautiful 19th century doll by a renowned maker, in perfect condition, priced 13 000 euros! The body can be made from various materials, such as tissue, wood, “composition” (imitation of bisque), or a kind of painted papier mâché. Often the arms are articulated, and instead of dropping, they can be held raised thanks to elastic rubber attached to them inside. Generally the hair and the clothes are recent replacements; in fact they often have real human hair, in contrast to modern dolls that have synthetic hair (hence, because of reflections, they should be photographed without a flash). Given the sophistication of their moving body parts, it seems that they were not decorative dolls, but real toys.

German dolls from the early 20th century usually have the brand name, model and geographic origin engraved at the back of the head. This one is a series 250.0 of the maker Ernst Heubach in Koppelsdorf, Germany. I bought it from an antiquarian in Strasbourg, who dates it from around 1900. As another site states: “The Germany inscription reinforces the early 1900 date. Starting in the early 1920’s the US started requiring the ‘Made in Germany’ mark on imports.” She has “sleeping eyes”, that is, her upper eyelids close when she lies on her back. Her articulated shoulders and elbows can both fold and rotate as in humans, and her wrists can rotate. Her legs are articulated at the hips and knees (but without elastic to prevent them from dropping down). Note also her open mouth.

Ernst Heubach Dolls, Koppelsdorf, Germany - Heubach Koppelsdorf 250.0 (c.1900--1920)

Ernst Heubach Dolls, Koppelsdorf, Germany – Heubach Koppelsdorf 250.0 (1900–1920)

I bought the next vintage doll at the Musée de la Poupée in Paris. It is a series MOA 200 made for the brand Welsch & Company by Max Oscar Arnold in Neustadt, Germany. I was told that it is dated 1940; however I think it could perhaps be older, since according to the reference site, the Max Oscar Arnold Doll Company operated until 1930. Since she wears a nightgown, I put her in my bedroom. She also has an open mouth, limbs rotating and folding at the hips, knees, shoulders and elbows, and rotating wrists. I had to untangle her hair, but I do not dare use a comb to groom it, since it might be torn from the felt scalp—so I leave it wildly spread around her face.

Max Oscar Arnold Dolls, Neustadt, Germany – MOA 200 Welsch (c1940)

Readers who looked carefully at the previous post may have noticed that another doll was standing at that place in my bedroom; indeed the latter moved to my kitchen.

My last doll, the most expensive one, was also bought at the Musée de la Poupée in Paris. They date it 1945. It was made by Monica Doll Studios, Hollywood, CA, USA. Her arms and legs are rigid; they move only at the elbows and hips. But while the trunk and limbs of the two German dolls were rather rough in their making, Monica’s body is made in the same material as her face, and with the same quality. So maybe it was a decorative doll, not a toy.

Monica Doll Studios, Hollywood, CA USA (1945)

Here we can see her from another angle.

Monica Doll Studios, Hollywood, CA USA (1945)

I am not sure whether I will buy any more dolls. They fill my apartment, I am starting to run out of room for them.

Arthur B. Davies

Posted on February 6, 2016 by Susan Adler

Arthur Bowen Davies (1862–1928) was an American Symbolist artist, who enjoyed great success in his lifetime. In 1924, the art collector Duncan Phillips, founder of Washington’s Phillips Collection, wrote, “Arthur B. Davies is already recognized, not only in this country but in Europe, as one of the few men of original and authentic genius among the painters of our contemporary world.” However, like many artists featured on Pigtails in Paint, his work is not well-known today. He is mainly remembered for organizing the Armory Show which introduced modern European painting styles into early 20th Century America.

Arthur B. Davies – Two Nude Girls (c1915)

I came to be interested in work like Davies’ when I was in college taking a course on existentialism and reading books like Kierkegaard’s Sickness unto Death. The vitality of the paintings of young girls by early 20th Century artists seemed to counter such pessimism. It is my intention in my posts to put the figurative works in a cultural context which will enrich one’s understanding of the work. Most articles I find on American early 20th Century artists only give biographical information without recognizing the symbolic content of the work. There appear to be hundreds of paintings and sculptures of young girls which were executed from the 1890s until the 1920s, since such images of girls were very rare in earlier times. The works must reflect a cultural development. I believe the tendency reflects a return of what Plato called the Celestial Venus. An article that covers more of Davies’ nudes can be found on Celestial Venus.

Arthur B. Davies – The Mountaineers (1913)

Davies also experimented with a cubist style for a short time. I know I have been critical of Duchamp and Picasso but I will admit I like some of their cubist works. But most cubist paintings amuse me in a way, which is similar to the amusement I have from looking a gaudy 1960s fashion; what were they thinking? An example that guys should understand: it’s like the cheesy wah wah guitar effect, which now sounds corny. It appears that Davies could not accept the aesthetics of Cubism since he never fragmented the figures as Picasso did. Davies’ Cubist paintings reflect that he was only appealing to a fad. In contrast, many of his figurative works are timeless. That’s what is special about a nude, since the person is not wearing clothes which reflects a time period; very often a nude is timeless.

Arthur B. Davies – Heart’s Hansel (1916)

Arthur B. Davies – Drawing (c1920)

Random Images: Dolls and Mannequins?

Posted on January 9, 2016 by Ron

I was just informed by a close colleague that I am incorrect on both counts regarding my suggestion that these images are mannequins. Please read the notes at the bottom for clarification. -Ron

The last two of Pip’s “test” images are not photographs of actual girls. Depending on your definition, they might be called dolls or mannequins. When I got these, I had just learned that there was a whole artistic discipline dedicated to producing these dolls, not to mention the collectors who restore them. I acquired a couple of books on the subject which I will review in due course, but I am hoping someone will come forward who is more expert than I am to inform readers about this remarkable field. The artists credited here are the photographers, not the producers of the mannequins.

Anoush Abrar and Aimée Hoving met during their college years and started working together in 2003 starting mainly as portrait photographers, but gradually made their way in the world of fashion photography. Their approach was to take fashion photos the way one would photograph art. The pair stopped working together near the end of 2012.

Anoush Abrar and Aimée Hoving – Adelina

After examining Jacqueline Roberts’ curriculum vitae and body of work, Pigtails will have to do a proper post on her at some point. She was born in Paris in 1969, studied Political Science and then took up the camera. She is completely self-taught. Her key inspiration is Julia Margaret Cameron and like her (and Sally Mann), she likes to work with more antiquated photographic methods. She feels today’s techniques make the images too disposable and she wishes to make them “precious” again.

Jacqueline Roberts – Noli me tangere

Comment: I recall that the first image went along with some article about the sexualization of girls or something of the kind. It is intended to convey the idea of a girl who is basically a toy of the fashion industry. If you look at her shirt, you can see her nipples are very much rounded and a little dark; they wouldn’t do that on an actual mannequin. The second image is of Jacqueline Roberts’ daughter. You can see her in several of the series at her website, especially ‘Kindred Spirits’ and ‘Under the Influence’. The photo has been digitally manipulated. If you look closely, you can see where the mannequin ends and the real girl begins about halfway up her chest. The mannequin is slightly shinier and a little different color.

My Response: Well, it appears that I failed the test here. The reason I thought the first image was a mannequin was because the way the shirt hung on the shoulders (and to some degree, the look of the clavicle). It didn’t feel as though it “stuck” properly like it would on real skin. I have to disagree about the level of detail that are put into these dolls. Perhaps an ordinary mannequin would not have this kind of detail, but realistic dolls do (and I hope to feature some here). I did visit Roberts’ site and noticed that same girl and so I did have doubts, but with digital manipulation, how can we be sure whether an image is digitally manipulated or an artist has produced a hyperrealistic doll? I suppose it would make sense to assume photographic manipulation since it is much easier to do. But I would like to assure readers that there are some dolls out there that look shockingly like the real thing, especially when viewing only the bust.

[160117] Here is some follow up information:

There is a French PDF file where the author discusses Adelina:

Anoush agrémente notamment tous les deux ans une collection de séquences mettant en scène Adelina, 11 ans en 2005, se trémoussant sur le tube du moment à la manière des clips vidéo qui passent en boucle sur MTV. Une manière de montrer – par le passage de l’enfance à l’adolescence, puis à l’âge adulte – le temps qui passe et modifie les notions d’innocence et de conscience de soi. «Moi, j’aime les visages et les corps qui se marquent. C’est quelque chose qui m’intéresse, la décrépitude.» Quant à Aimée, elle explore les nombreuses possibilités du portrait en replaçant par exemple des avocats de la place dans le cadre de leur bureau, des jeunes filles dans leur chambre d’internat ou des femmes adultes dans la maison qui les a vues grandir. «Quand j’ai enfin un peu de temps pour moi, je me mets à réfléchir au temps qui passe. Et c’est ce qui m’effraie le plus, car on ne peut pas lutter contre le quotidien qui t’emmène dans sa course et que tu ne peux que suivre.» En photographie, le temps qui passe semble en fin de compte beaucoup plus présent qu’on ne l’imagine.

English Translation:

Anoush decorates including all two years a collection of sequences starring Adelina, 11 years in 2005, fidgeting on the tube of the moment like video clips passing loop on MTV. A way to show – by the passage from childhood to adolescence and then adulthood – the time that passes and amends the concepts of innocence and self-awareness. “Me, I like the faces and bodies that will mark. It’s something that interests me, decrepitude.” As Aimée, she explores the possibilities of the portrait replacing for example lawyers to place in their office, young girls in their boarding room or adult women in the House which saw them grow. “When I finally have a little time for me, I start to think about the time that passes. And this is what frightens me the most, because we cannot fight against the daily that takes you on his race and that you can follow.” In photography, the time that passes seems much more present than we imagine ultimately.

Apparently there was a plan for a whole series of photos featuring Adelina, at age 11, as she transitioned from childhood to adulthood. It is not known if this project was ever completed, but there seems to be only this single photo posted online. At least some other photographs must exist and perhaps someone fluent in French could contact these photographers to discover what became of them.

"A girl is Innocence playing in the mud, Beauty standing on its head, and Motherhood dragging a doll by the foot." – Alan Marshall Beck

Category Archives: Realism