L a - b e a u t é - s a u v e r a - l e - m o n d e ~ D o s t o ï e v s k i

L a - b e a u t é - s a u v e r a - l e - m o n d e  ~  D o s t o ï e v s k i



Friday, October 16, 2020

Always the telling gaze - selected paintings by Anton Einsle

 

Family portrait, circa 1830.
Portrait of a man, circa 1830s.
Julius Löwe, 1847.
Portrait of a lady, 1843.
Portrait of a gentleman, 1830.
Portrait of a lady, 1838.
 Erzherzog Karl Ludwig, 1848.
Portrait of a young lady, 1847.
Portrait of an officer, 1829.
Portraits of Anna and Jakob Regenhart, 1853.
Portrait of a young lady, 1847.
Erzherzog Karl von Österreich, Herzog von Teschen, circa 1830s-40s.
Sleeping child, 1854.

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Anton Einsle (30 January 1801, Vienna - 10 March 1871, Vienna), Austrian portrait painter. The son of a surgical instrument maker, at the age of thirteen he began study at the Akademie der bildenden Künste Wien in Vienna; at sixteen he was winning awards for his work and had accepted his first commissions. He began showing in Prague and Dresden and, a bit later, in Vienna. He worked for several years in Prague beginning in 1829, and in Budapest from 1832. In 1838 he was appointed court painter to the imperial family and returned to Vienna, where he was provided with a large studio in the Hofburg.



Sunday, October 11, 2020

What the lens cannot know - photographs of William LaRue by Minor White, 1959-1964



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I've been unable to find much of anything about "Bill" LaRue, the model for all these photographs. A young elementary school teacher from Oakland, of mixed Japanese and French heritage, he apparently met White at a photography workshop in San Francisco in 1959. White invited him to be his workshop assistant, frequent model, and travelling companion. The photographs here were taken in California, Oregon, and Utah over a span of six years. White died in 1976, but LaRue, who later went by the name of Yama LaRue, was still living as of five years ago. White was a closeted homosexual, though it wasn't much of a secret to his friends, and it was obvious enough in his work. But I know nothing about the relationship between the two men, if it was anything more than friendship. What is nevertheless clear is that White was captivated and inspired by LaRue's unusual beauty and, as with all his photographs of men, it's what the viewer easily senses beyond the lens, within the gaze of the photographer - the palpable longing - that makes these images so powerful.