The portraitist
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The portraitist

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Anna Bilińska-Bohdanowicz (Polish, 1854–1893) • Self-Portrait with Apron and Brushes • 1887
Tito Conti (Italian 1842-1924) • The Musician • Late 19th — early 20th century
Street painter
John Singer Sargent (American, 1856-1925) • Portrait of Louise Pomeroy Inches • 1887 • Museum of Fine Arts, Boston
Evening Dress • Unidentified Maker • American • Silk velvet with silk plain weave lining
How wonderful that such a well-preserved dress exists to enliven a famous portrait painting! This dress is one of my favorites for a couple of reasons – firstly, I love velvet and this silk velvet is the real deal – gorgeous. Secondly, I've seen the portrait many times at the MFA in Boston. The dress was in a glass case at the blockbuster Fashioned by Sargent exhibition also at the MFA.
I've read that Louise Inches was expecting her third child when she sat for this portrait and that the dress had been designed to accommodate extra panels as her figure expanded. She and Sargent got on well. Both were music lovers and accomplished musicians.

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Self Portrait
Artist: Rembrandt Peale (American, 1778–1860)
Date: 1840
Medium: Oil on canvas
Collection: Philadelphia Museum of Art, Philadelphia, Pennsylvania, United States
Description
Rembrandt Peale was sixty-two and a distinguished portraitist and history painter when he made this handsome self-portrait as a wedding gift for his second wife, the artist Harriet Cany Peale. Painting his first self-portrait at age thirteen, he completed at least a dozen during his long life. In this work, his meticulous execution and masterful rendering of light and shadow defines and illuminates his face, forehead, and silver curls, imparting a soft yet dramatic dimension to the picture.
Happy Birthday, Ilya Repin!
Portrait of Francis I of Austria
Artist: Thomas Lawrence (English, 1769-1830)
Date: 1818-1819
Medium: Oil on canvas
Collection: Royal Collection Trust, London, United Kingdom
Description
This portrait of the Emperor of Austria was commissioned by George IV at a cost of 500 guineas. Lawrence ventured across Europe to undertake the King's commission of a group of portraits of the allied military and political leaders involved in the Napoleonic Wars. Although Lawrence met the Emperor during the Congresses of Aix-la-Chapelle and Vienna in 1818-9, the dates during which he undertook this painting itself are not known, as it remained in the artist's studio at his death in 1830.
The Emperor is shown in military uniform with his plumed hat on a table beside him; the riband and star of the Order of the Garter worn under that of the Golden Fleece. In addition to enabling him to render details of military dress with accuracy, the artist attached particular importance to capturing his sitters from life, in order to imbue a sense of liveliness. The Emperor’s countenance, he described as 'rather long and thin, and when grave, is grave to melancholy; but when he speaks, benevolence itself lights it up with the most agreeable expressions, and making it the perfect image of a good mind.’ (letter of 5 November 1818).The conception of this group of twenty-eight portraits began in 1814 when George IV