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The steadfastness of generations of nobility
shows in the curving lines that form the eyebrows.
And the blue eyes still show traces of childhood fears
and of humility here and there, not of a servant’s,
yet of one who serves obediantly, and of a woman.
The mouth formed as a mouth, large and accurate,
not given to long phrases, but to express
persuasively what is right. The forehead without guile
and favoring the shadows of quiet downward gazing.

This, as a coherent whole, only casually observed;
never as yet tried in suffering or succeeding,
held together for an enduring fulfillment,
yet so as if for times to come, out of these scattered things,
something serious and lasting were being planned.

(Self-portrait by Rilke; Arthur Hughes; Dante Gabriel Rossetti; Jean Delville; Steichen; Munch; William Hazlitt; Samuel Palmer; Charles Hazlewood Shannon)

The artist at work in his studio. Self-portraits by Jean-Léon Gérôme.

Read the article “Fin de partie: A Group of Self-Portraits by Jean-Léon Gérôme” by Susan Waller in Nineteenth Century Art Worldwide.

on twitter

  • RT @artinsociety: Albrecht Dürer died #OTD 1528, almost 500 years ago, but his studies of animals and bugs live on ~ here’s his finely-obse… 1 year ago
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