Ego Vivo

Jacques-Laurent Agasse
Self Portrait at age 18
1785
pastel on vellum
Cabinet d'Arts Graphiques
des Musées d'Art et d'Histoire, Genève

Max Beckmann
Self Portrait at age 15
1899
oil on canvas
Sprengel Museum, Hannover

Caspar Berger
Ego Vivo / Self Portrait 25
2013
mixed-media sculpture installation
Museum de Fundatie, Zwolle, Netherlands

Ami Bergman
Self Portrait
2021
acrylic on canvas
Moderna Museet, Stockholm

Wilhelm Dodel
Self Portrait with Dog Rose
ca. 1930
oil on canvas
Galerie Neue Meister, Dresden

Uno Falkengren
Self Portrait
ca. 1909
gelatin silver print
Moderna Museet, Stockholm

Angelica Kauffmann
Self Portrait
1784
oil on canvas
Neue Pinakothek, Munich

Käthe Kollwitz
Self Portrait
ca. 1890
drawing
Kupferstichkabinett,
Staatliche Kunstsammlungen, Dresden

Paula Modersohn-Becker
Self Portrait with Irises
ca. 1905
oil on canvas
Kunsthalle Bremen

Maximilian Reinitz
Self Portrait
ca. 1930
woodcut
Graphische Sammlung Albertina, Vienna

Samuel van Hoogstraten
Self Portrait at age 18
1645
oil on panel
Liechtenstein Museum, Vienna

Egon Schiele
Self Portrait
1910
watercolor and gouache on paper
Graphische Sammlung Albertina, Vienna

Helene Schjerfbeck
Self Portrait with Palette
1937
oil on canvas
Moderna Museet, Stockholm

Charley Toorop
Self Portrait with Palette
1934
oil on canvas
Kröller-Müller Museum, Otterlo, Netherlands

Harriet Sundström
Self Portrait
1913
color woodblock print
Moderna Museet, Stockholm

Albert Schindler
Self Portrait in the Studio
ca. 1840
oil on panel
Liechtenstein Museum, Vienna

That same summer, the Thebans demolished the walls of the Thespians, laying Atticism to their charge.  And though they had ever meant to do it, yet now it was easier, because the flower of their youth was slain in the battle against the Athenians.  The temple of Juno in Argos was also burnt down the same summer, by the negligence of Chrysis, the priest, who, having set a burning torch by the garlands, fell asleep, insomuch as all was on fire and flamed out before she knew.  Chrysis, the same night, for fear of the Argives, fled presently to Phlius; and they, according to the law formerly used, chose another priest in her room, called Phaeinis.  Now, when Chrysis fled, was the eighth year of this war ended, and half of the ninth.  Scione, in the very end of this summer, was quite enclosed; and the Athenians, having left a guard there, went home with the rest of their army.   

– from The Peloponnesian War as written by Thucydides (5th century BC) and translated by Thomas Hobbes (1628) and edited by David Grene (1959)

Poses

Gregorio Pagani
St Helena
(study of saint's pose repeated 14 times)
ca. 1592
drawing
British Museum

Bernard Picart
Académie
1721
drawing
Ashmolean Museum, Oxford

Hugues Taraval
Life Study
(model posed for foreshortened Crucifixion)
before 1785
drawing
Victoria & Albert Museum, London

Salvino Salvini
Model Study by a Sculptor
ca. 1850
oil on canvas
Museo Nazionale di Palazzo Reale, Pisa

Auguste Belloc
Reclining Model
ca. 1858
albumen silver print
Museum of Modern Art, New York

Paul Cézanne
Académie
ca. 1867
drawing
Ashmolean Museum, Oxford

Hermann Heid
Model Study
ca. 1875
albumen silver print
Museum of Modern Art, New York

Anonymous English Photographer
Artist and Model in the Studio
ca. 1890
albumen silver print
Museum of Modern Art, New York

Alphonse Mucha
Model Study
ca. 1899
gelatin silver print
San Francisco Museum of Modern Art

Charles Despiau
Seated Model
ca. 1900
drawing
Museum of Modern Art, New York

Henri Matisse
Model Study
ca. 1908-1909
drawing
Museum of Modern Art, New York

Constant Puyo
Three Photographers in a Meadow with a Model
1909
platinum print
Metropolitan Museum of Art, New York

George Bellows
Standing Model
before 1925
drawing
Buffalo AKG Art Museum, New York

George Grosz
Self Portrait with Model
1928
oil on canvas
Museum of Modern Art, New York

PaJaMa (Paul Cadmus, Jared French, Margaret French)
Francis Burton Harrison III, Saint Luke's Place, New York
1945
gelatin silver print
Museum of Modern Art, New York

Anonymous American Photographer
Woman posing in Bathing Suit
1959
gelatin silver print
Loeb Art Center, Vassar College,
Poughkeepsie, New York

Philip Pearlstein
Male Model, Minstrel Marionettes and Unfinished Painting
1994
oil on canvas
Museum of Modern Art, New York

    To crown all, he has scattered through these few pages a multitude of proper names, most of them gorgeous in sound, and each of them carrying its own strange freight of reminiscences and allusions from the unknown depths of the past.  As one reads, an extraordinary procession of persons seems to pass before one's eyes – Moses, Archimedes, Achilles, Job, Hector and Charles the Fifth, Cardan and Alaric, Gordianus, and Pilate, and Homer, and Cambyses, and the Canaanitish woman.  Among them, one visionary figure flits with a mysterious pre-eminence, flickering over every page, like a familiar and ghostly flame.  It is Methuselah; and in Browne's scheme, the remote, almost infinite, and almost ridiculous patriarch is – who can doubt it? – the only possible centre and symbol of all the rest.

– Lytton Strachey on Sir Thomas Browne (1906)

Studio - II

Georg Fennitzer
Portrait of artist Tobias Hertz
ca. 1700
mezzotint
Herzog August Bibliothek, Wolfenbüttel

Jan Kupecký
Self Portrait
1709
oil on canvas
Belvedere Museum, Vienna

Carlo Maratti
Allegory of Painting
before 1713
drawing
Graphische Sammlung Albertina, Vienna

Jean-Étienne Liotard
Self Portrait
ca. 1751-52
pastel on paper, mounted on canvas
Cabinet d'Arts Graphiques
des Musées d'Art et d'Histoire, Genève

Johann Gottlieb Prestel
Self Portrait at the Easel
1756
etching
Herzog Anton Ulrich Museum, Braunschweig

Joseph Roques
Self Portrait
1783
oil on canvas
Musée des Augustins de Toulouse

Marie-Victoire Lemoine
Self Portrait
ca. 1785
oil on canvas
Musée des Beaux-Art d'Orléans

Marie-Guilhelmine Benoist
Self Portrait
copying the Bélisaire of Jacques-Louis David
1786
oil on canvas
Staatliche Kunsthalle, Karlsruhe

Friedrich Philipp Reinhold
Artist Johann Christoph Erhard at Work
1818
drawing
Graphische Sammlung Albertina, Vienna

Anonymous British Photographer
Edward Burne-Jones in the Studio
ca. 1890
photogravure
British Museum

Käthe Kollwitz
Two Self Portraits
ca. 1895
etching and drypoint
Kupferstichkabinett, Staatliche Museen zu Berlin

August Hagborg
Anders Zorn in his Studio
1901
oil on canvas
Göteborgs Konstmuseum, Sweden

Max Slevogt
Self Portrait at the Easel
ca. 1910
oil on canvas
Pomeranian State Museum, Greifswald

Max Liebermann
Self Portrait
1916
oil on canvas
Kunsthalle Bremen

Rudolf Levy
Portrait of painter Hans Purrmann
1931
oil on canvas
Museum Ludwig, Cologne

Thomas Hart Benton
Self Portrait
1972
lithograph
Amon Carter Museum, Fort Worth, Texas

Thus the Athenians quickly raised their walls, the structure itself making manifest the haste used in the building.  For the foundation consisteth of stones of all sorts, and those in some places overwrought and as they were brought to the place.  Many pillars together among the rest.  For the circuit of the city was set every way farther out, and therefore hastening they took alike whatsoever came next to hand.  Themistocles likewise persuaded them to build up the rest of Piraeus, for it was begun in the year that himself was archon of Athens, as conceiving the place both beautiful, in that it had three natural havens, and that being now seamen, it would very much conduce to the enlargement of their power.  For he was indeed the first man that dared tell them that they ought to take upon them the command of the sea, and withal presently helped them in the obtaining it.  By his counsel also it was that they built the wall of that breadth about Piraeus which is now to be seen.  For two carts carrying stones met and passed upon it one by another.  And yet within it there was neither rubbish nor mortar, but it was made all of great stones cut square and bound together with iron and lead.  But for height it was raised but to the half, at the most, of what he had intended.  For he would have had it able to hold out the enemy both by the height and breadth, and that a few and the less serviceable men might have sufficed to defend it and the rest have served in the navy.  For principally he was addicted to the sea because, as I think, he had observed that the forces of the king had easier access to invade them by sea than by land, and thought that Piraeus was more profitable than the city above.  And oftentimes he would exhort the Athenians that, in case they were oppressed by land, they should go down thither and with their galleys make resistance against what enemy soever.  

– from The Peloponnesian War as written by Thucydides (5th century BC) and translated by Thomas Hobbes (1628) and edited by David Grene (1959)

Studio - I

Anonymous German Artist
Workshop with Sculptors and Painter
ca. 1518
woodcut
Herzog August Bibliothek, Wulfenbüttel

Frans Floris
St Luke painting the Virgin
ca. 1560
oil on panel
Royal Museum of Fine Arts, Antwerp

Abraham Bosse
Sculpture Studio
1642
etching
Graphische Sammlung, ETH Zürich

Johann Heiss
Sculpture Studio in Art Academy
ca. 1680-85
oil on canvas
Deutsche Barockgalerie, Augsburg

Christian Wilhelm Ernst Dietrich
Model and Artists
1732
etching
Herzog Anton Ulrich Museum, Braunschweig

Giovanni Domenico Ferretti
Artist and Model
ca. 1740
etching and engraving
Herzog Anton Ulrich Museum, Braunschweig

Louis Aubert
Painter's Apprentices in the Workshop
1747
watercolor on paper
Graphische Sammlung Albertina, Vienna

Johann Georg Platzer
Painting a Portrait in the Studio
before 1761
watercolor and gouache on paper
Graphische Sammlung Albertina, Vienna

Marie-Gabrielle Capet
Scene in the Studio of Madame Vincent
1808
oil on canvas
Neue Pinakothek, Munich

attributed to Auguste-Xavier Leprince
The Painter in his Studio
ca. 1826
oil on canvas
Musée Magnin, Dijon

Ferdinand Tellgmann
In the Studio
1834
oil on canvas
Museumslandschaft Hessen Kassel

Friedrich Philipp Reinhold
Porcelain Painters at Work in Vienna
1836
oil on board
Museum für Angewandte Kunst, Vienna

Ary Johannes Lamme
Paris Studio of Ary Scheffer
1850
oil on canvas
Dordrechts Museum, Netherlands

Bonaventura Genelli
Sculpture Studio
ca. 1860
drawing, with added watercolor
Kupferstichkabinett, Staatliche Kunstsammlungen, Dresden

Lawrence Alma-Tadema
My Studio
1867
oil on panel
Groninger Museum, Netherlands

Carl Larsson
Self Portrait
1912
watercolor on paper
Malmö Konstmuseum, Sweden

When the Athenians had given them this answer, the Corinthians made ready to go home and set up a trophy in Sybota of the continent.  And the Corcyraeans also both took up the wreck and bodies of the dead which, carried every way by the waves and the winds that arose the night before, came driving to their hands, and, as if they had had the victory, set up a trophy likewise in Sybota the island.  The victory was thus challenged on both sides upon these grounds.  The Corinthians did set up a trophy because in the battle they had the better all day, having gotten more of the wreck and dead bodies than the other and taken no less than a thousand prisoners and sunk about seventy of the enemies' galleys.  And the Corcyraeans set up a trophy because they had sunk thirty galleys of the Corinthians and had, after the arrival of the Athenians, recovered the wreck and dead bodies that drove to them by reason of the wind; and because the day before, upon sight of the Athenians, the Corinthians had rowed astern and went away from them; and lastly, for that when they went to Sybota, the Corinthians came not out to encounter them.  Thus each side claimed victory.  

– from The Peloponnesian War as written by Thucydides (5th century BC) and translated by Thomas Hobbes (1628) and edited by David Grene (1959)