Do You Really Need Another Great Reason to Take My New York City Portrait Artist Workshop?
During my New York oil portrait artist workshop I will spend one day, with my students, at the Metropolitan Museum of Art. I’ll be analyzing a number of great master portraits and talk about how they relate to my teaching.
Today I visited the Met’s 19th Century European painting wing. I went to check out William Bouguereau’s Breton Brother and Sister, one of my two favorite paintings in the museum’s permanent collection. (OK since you asked, my other favorite is Tea Leaves by William McGregor Paxton.) Boy was I pissed off when it wasn’t there. Just typical, I thought. All the crappy paintings by “historically significant artists” clogging the walls and they have to take down a genuine work of genius. Where do these curators buy their eyeglasses? It’s bad enough they took down Lord Leighton’s Lachrymae (Mary Lloyd) a couple of years ago.
As I wheedled my way through the galleries bemoaning the loss of a major landmark of my tour I entered Gallery 827, and low and behold, there was Breton Brother and Sister after all…but wait a minute–I must be hallucinating–there, smack dab in the middle of the gallery’s main wall, now hangs Bouguereau’s major masterpiece, Nymphs and Satyr. It’s beautifully presented and looks beyond spectacular. I’d seen it twice before at the Sterling and Francine Clark Art Institute in Williamstown MA. I was told it will be at the Met for a two-year loan while the Institute undergoes renovations. I am so excited to share this with my portrait workshop students. No reproduction can even begin to replicate its splendor. I will be pitching a tent. I hope they still serve crow sandwich in the cafeteria.
Until next time…