Aline Fruhauf – MIdcentury Tastemakers

Aline Fruhauf
Muriel King (fashion designer)
1939
ink and watercolor on paper
National Portrait Gallery, Washington DC

Aline Fruhauf
Louise Barnes Gallagher (fashion designer)
1942
ink and watercolor on paper
National Portrait Gallery, Washington DC

Aline Fruhauf
Helen Cramp Cookman (fashion designer)
1939
ink and watercolor on paper
National Portrait Gallery, Washington DC

Aline Fruhauf
Aline Bernstein (stage designer)
1943
ink and watercolor on paper
National Portrait Gallery, Washington DC

Aline Fruhauf
Clare Potter (fashion designer)
1939
ink and watercolor on paper
National Portrait Gallery, Washington DC

Aline Fruhauf
Fira Benenson (fashion designer)
1942
ink and watercolor on paper
National Portrait Gallery, Washington DC

Aline Fruhauf
Nettie Rosenstein (fashion designer)
1939
ink and watercolor on paper
National Portrait Gallery, Washington DC

Aline Fruhauf
Omar Kiam (fashion designer)
1942
ink and watercolor on paper
National Portrait Gallery, Washington DC

Aline Fruhauf
Tom Brigance (fashion designer)
1939
ink and watercolor on paper
National Portrait Gallery, Washington DC

Aline Fruhauf
William Pahlmann (interior designer)
1939
ink and watercolor on paper
National Portrait Gallery, Washington DC

Aline Fruhauf
Sally Victor (milliner)
1942
ink and watercolor on paper
National Portrait Gallery, Washington DC

Aline Fruhauf
Lilly Daché (milliner)
1942
ink and watercolor on paper
National Portrait Gallery, Washington DC

Aline Fruhauf
Pola Stout (textile designer)
1941
ink and watercolor on paper
National Portrait Gallery, Washington DC

Aline Fruhauf
James Berryman (cartoonist)
1949
ink and watercolor on paper
National Portrait Gallery, Washington DC

Aline Fruhauf
Duncan Phillips (art collector)
1949
ink and watercolor on paper
National Portrait Gallery, Washington DC

from Santarém

Of course, I may be remembering it all wrong

after, after – how many years?

That golden evening I really wanted to go no farther;

more than anything else I wanted to stay while

in that conflux of two great rivers, Tapajós, Amazon,

grandly, silently flowing, flowing east.

Suddenly there'd been houses, people, and lots of mongrel

riverboats skittering back and forth

under a sky of gorgeous, under-lit clouds,

with everything gilded, burnished along one side,

and everything bright, cheerful, casual – or so it looked.

I liked the place; I liked the idea of the place.

Two rivers. Hadn't two rivers sprung

from the Garden of Eden? No, that was four

and they'd diverged. Here only two

and coming together. Even if one were tempted

to literary interpretations

such as: life/death, right/wrong, male/female

– such notions would have resolved, dissolved, straight off

in that watery, dazzling dialectic. 

In front of the church, the Cathedral, rather,

there was a modest promenade and a belvedere

about to fall into the river,

stubby palms, flamboyants like pans of embers,

buildings one story high, stucco, blue or yellow,

and one house faced with azulejos, buttercup yellow. 

The street was deep in dark gold river sand

damp from the ritual afternoon rain,

and teams of zebus plodded, gentle, proud,

and blue, with down-curved horns and hanging ears,

pulling carts with solid wheels.

The zebus' hooves, the people's feet

waded in golden sand,

dampered by golden sand,

so that almost the only sounds

were creaks and shush, shush, shush.

Two rivers full of crazy shipping – people

all apparently changing their minds, embarking, 

disembarking, rowing clumsy dories.

(After the Civil War some Southern families

came here; here they could still own slaves.

They left occasional blue eyes, English names,

and oars. No other place, no one

on all the Amazon's four thousand miles

does anything but paddle.)

– Elizabeth Bishop (1978)

Conspicuous Brushwork - IV

Joseph Beuys
King's Daughter Sees Iceland
1960
gouache on paper, mounted on felt over board
Museum Ludwig, Cologne

Alan Davie
Study for The Key
1960
oil on canvas
Albright-Knox Art Gallery, Buffalo, New York

Richard Diebenkorn
Black Table
1960
oil on canvas
Carnegie Museum of Art, Pittsburgh

Per Erik Hagdahl
Branches II
1963
oil on canvas
Moderna Museet, Stockholm

Knut Rumohr
Landscape
1963
tempera on canvas
Nasjonalmuseet, Oslo

Karel Appel
Rocking in a Boat
1964
oil on canvas
Göteborgs Konstmuseum, Sweden

Arne Ekeland
Parnassus
1964
acrylic on paper
Stavanger Kunstmuseum, Norway

Asger Jorn
You Dog
1965
oil on canvas
Von der Heydt Museum, Wuppertal

Bram van Velde
Composition
1970
oil on canvas
Carnegie Museum of Art, Pittsburgh

Jurjen de Haan
Paaseiland
1978
oil on canvas
Dordrechts Museum, Netherlands

Sigrid Burton
Frenesi
1979
acrylic on canvas
John and Mable Ringling Museum of Art,
Sarasota, Florida

Runi Langum
Situation II
1981
oil on canvas
Nasjonalmuseet, Oslo

Georg Baselitz
Die Verspottung (The Mocking)
1984
oil on canvas
Carnegie Museum of Art, Pittsburgh

Tina Juretzek
June Women
1987
mixed media on cardboard
Museum Ludwig, Cologne

Helmut Pfeuffer
Stierfeld
1989
oil on canvas
Galerie Neue Meister (Albertinum), Dresden

Johanne Hansen-Krone
Double Spiral
1996
oil on canvas
Stortingets Kunstsamling, Oslo

[Enter a Herald]

Herald:  I have to announce the opinion and the decision of the people's council of this city of Cadmus.  It has been resolved that Eteocles here, on account of his loyalty to his country, shall be buried in the loving recesses of the earth; for he found death while keeping out the enemy at the gates, and in pious defence of the temples of his fathers he has died blamelessly where it is honourable for the young to die.  That is what I have been instructed to say about him, but his brother, the dead Polynices here, is to be cast out unburied, a prey for the dogs, as one who would have been the destroyer of the land of Cadmus, had not some god stood up to hinder his armed attack.  Even in death he shall bear the pollution and curse of his ancestral gods, whom he insulted when he tried to capture the city, bringing a foreign army to attack it.  So it is decided that he should get his due reward by receiving a dishonourable funeral from the flying birds; that he should neither lie under a laboriously raised burial-mound nor be dignified with high-pitched musical wailings; and that he should not have the honour of a funeral procession from his family.  Such is the decision of the aforementioned Cadmean authorities. 

Antigone:  And I say to the leaders of the Cadmeans: if no one else is willing to join in burying this man, I will bury him, I will brave the danger of burying my brother, and I will not be ashamed to display such disobedient insubordination to the city.  The power of the common womb from which we are sprung, children of a wretched mother and a miserable father, is a formidable thing.  Therefore, my soul, with a sister's heart, living with dead, share willingly in the sufferings that he endures unwillingly.  His flesh shall not be eaten by dogs or birds nor torn by hollow-bellied wolves – let no one think it will; for I shall myself, woman though I am, contrive to provide him with a funeral and burial, carrying it* in the fold of my fine linen robe, and myself cover him up – and let no one think otherwise.  Courage will find a means to do it.

– Aeschylus, from Seven Against Thebes (467 BC), translated by Alan H. Sommerstein (2008)

*i.e. the earth to throw over the body

Conspicuous Brushwork - III

Suzanne Valadon
Portrait of a Woman
1929
oil on canvas
Museum Ludwig, Cologne

Aleksandr Drevin
Reclining Model
1932
oil on canvas
Museum Ludwig, Cologne

Folke Hellstrom-Lind
Seated Man
1933
oil on canvas
Moderna Museet, Stockholm

Karl Schmidt-Rottluff
Woman and Girl
1933
oil on canvas
Museum Ludwig, Cologne

Max Beckmann
Journey on the Fish
1934
oil on canvas
Staatsgalerie, Stuttgart

Hendrik Nicolaas Werkman
Portrait of Herman Poort
1939
oil on canvas
Groninger Museum, Netherlands

Vilhelm Lundstrøm
Still Life
1942
oil on canvas
Moderna Museet, Stockholm

Per Lindekrantz
Study of Model
1946
oil on canvas
Göteborgs Konstmuseum, Sweden

Ragnar Hult
Self Portrait
1952
oil on canvas
Göteborgs Konstmuseum, Sweden

François Desnoyer
Sportive Bleu et Rouge
1953
oil on canvas
Musée des Beaux-Arts de Pau

Yvonne Thomas
Cyclops
1955
oil on linen
Musée d'Art Classique de Mougins

Francis Bacon
Figure in Mountain Landscape
1956
oil on canvas
Kunsthaus Zürich

Jan Altink
Landscape with Horse
1957
oil on canvas
Groninger Museum, Netherlands

Jane Freilicher
The Electric Fan
1957
oil on linen
Musée d'Art Classique de Mougins

François Arnal
Les Invités du Tour du Monde
1958
oil on canvas
Moderna Museet, Stockholm

Alfred Leslie
Composition
1959
oil on canvas
Moderna Museet, Stockholm

[The bodies of Eteocles and Polynices are brought on, and laid down side by side] 

Chorus of Theban Maidens:

Here it is, plain to see; the messenger's words are visible reality;

with double lamentation I now behold this twin disaster;

the sad event is fulfilled, a double death by kindred hands. What shall I say?

What else but that suffering is a resident of this house?

Friends, with the wind of lamentation in your sails

ply in accompaniment the regular beating of hands on head,

which is for ever crossing the Acheron,

propelling on a sacred mission from which there is no return

the black funeral ship,

on which Apollo Paeon never treads, and the sun never shines,

to the invisible shores that welcome all.

[Enter Antigone and Ismene]

But here come Antigone and Ismene

to fulfil a bitter duty.

I think they will undoubtedly utter

a lament for their brothers from their lovely

deep bosoms; their grief merits it.

But it is right that we, having heard the news first,

should raise the unpleasing sound

of the Fury's hymn, and sing

the hateful paean of Hades.

Oh,

you most unhappy in your brothers of all

who bind a sash round their garments!

I weep, I groan, and there is no deceit about it –
I am raising my voice sincerely from the heart.

– Aeschylus, from Seven Against Thebes (467 BC), translated by Alan H. Sommerstein (2008)

Conspicuous Brushwork - II

Robert Delaunay
Portuguese Still Life
1915
tempera on canvas
Musée Fabre, Montpellier

Adolf Erbslöh
Landscape (English Garden)
1916
oil on canvas
Galerie Neue Meister (Albertinum), Dresden

Max Liebermann
The Garden Bench
1916
oil on canvas
Alte Nationalgalerie, Staatliche Museen zu Berlin

Thorvald Erichsen
View from a Window
1917
oil on canvas
Lillehammer Kunstmuseum, Norway

Claude Monet
Corner of the Lake at Giverny
1917
oil on canvas
Musée de Grenoble

Svante Bergh
Fisher Lad
1918
oil on canvas
Moderna Museet, Stockholm

Edvard Munch
Self Portrait with Influenza
1919
oil on canvas
Museum Behnhaus, Lübeck

August Babberger
Mountain Landscape with the Scheerhorn
1920
oil on canvas
Staatliche Kunsthalle, Karlsruhe

Anton Kolig
The Protest
1920
oil on canvas
Belvedere Museum, Vienna

Helmuth Macke
Portrait of Grete Hagemann
1920
oil on canvas
Museum Penzberg, Germany

Karl Isakson
Raising of Lazarus
1921
oil on canvas
Moderna Museet, Stockholm

Hendrik Nicolaas Werkman
Sunflowers
1921
oil on canvas
Groninger Museum, Netherlands

John Singer Sargent
Portrait of Jacques-Émile Blanche
1922
oil on canvas
Musée des Beaux-Arts de Rouen

Lovis Corinth
Birth of Venus
1923
oil on cardboard
Ostdeutsche Galerie, Regensburg

Carl Kylberg
Self Portrait
1924
oil on canvas
Göteborgs Konstmuseum, Sweden

Julo Levin
Stettin Harbor
1929
oil on cardboard
Ostdeutsche Galerie, Regensburg

[A Messenger enters from the direction of the battlefield]

Messenger:  Have no fear, you daughters born of noble Cadmean mothers: this city has escaped the yoke of slavery.  The boasts of mighty men have fallen to the ground, and as in fair weather, so too when much buffeted by the waves, the city has let no water into her hull.  The wall has held, and the champions with whom we reinforced the gates proved reliable in single combat.  Things are well for the most part – at six gates; but at the Seventh the victor was the awesome Master of Sevens, Lord Apollo, wreaking the consequences of Laius' old act of unwisdom upon the offspring of Oedipus.

Chorus:  What further untoward thing has happened to the city?

Messenger:  The men have died at each other's hands. 

Chorus:  Who? Who are you saying? Your words are frightening me out of my mind.

Messenger:  Collect yourself, and listen. The sons of Oedipus –

Chorus:  Ah, wretched me! I can foresee the worst!

Messenger:  They killed each other with hands that all too truly shared the same blood.  Thus the controlling power was one and the same for both, and he has himself utterly destroyed that ill-fated family.  Such are the things we have to rejoice and to weep over: the city is faring well, but its chiefs, the leaders of the two armies, have had the whole possession of their inheritance divided between them by hammered Scythian iron; they will have so much of the land as they will take in burial, having been swept away to an evil fate in accordance with their father's curse. 

[He departs]  

– Aeschylus, from Seven Against Thebes (467 BC), translated by Alan H. Sommerstein (2008)