Anders Zorn
1860-1920 |
The Self-Portraits of Anders Zorn
The great Swedish master looks into the mirror.
nders Zorn (1860-1920) occupies an enviable place in art history.
His name is invariably included in an illustrious quartet of late
nineteenth-century/early twentieth century masters of the art of
premier coup (direct stroke) oil technique. The four names which
are customarily linked are: John Singer Sargent (American), Joaquin
Sorolla (Spanish), Giovanni Boldini (Italian) and Zorn (Scandinavian).
Legion were (and are) the painters who have attempted this very
difficult and demanding technique, but these four, working contemporaneously,
were the standard-bearers of the discipline in their era.
Zorn's work is always exciting. His draftsmanship is superb. His
brushwork is fresh, direct and animated. His compositions are frequently
unconventional. For the working artist who needs inspiration to
free his hand from hesitation and restraint, Zorn is the perfect
artist to study. Here are four examples of his brilliant work, all
self-portraits:
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1. Self-Portrait With Model
Zorn's best-known self-portrait
depicts the artist revealed by a very strong side light
which divides the face into light and dark. The artist
wears a light gray smock, high white collar, and full
artist's cravat. The palette shows the three pigments
which form the basis of his flesh tones: white, yellow
ochre and cadmium red light (or vermilion).
In a highly unconventional
arrangement, a large dark void occupies the center of
the composition, with the resting model (who covers
herself with a dark wrap) in the upper right corner.
Note the refection of the model's feet in the polished
floor.
Oil on canvas,
46 x 37 inches
(117cm x 94cm)
National Museum of Sweden
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