Word: self-portraits
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Since the flight from Bordeaux to England on June 18, 1940 which made him famous, he has been an enigma to many. Once, however, he painted a revealing self-portrait : a passage in his remarkable, prophetic book, The Army of the Future,* published by Colonel de Gaulle in 1934. He wrote: "The depth, the singularity, the self-sufficiency of a man made for great deeds is not popular except at critical times. Although when in contact with him one is conscious of a superiority which compels respect, he is seldom liked. Moreover, his faculties, shaped for heroic feats, despise...
...This self-portrait of CRIMSON staff artist Drink A. Bowlfull ocC shows the little man in his usual overworked condition. The cartoonist is so harried, in fact, that he misconstrued yesterday's holiday as a personal armistice and took off for Scollay Square and a short rest...
...giving customers their money's worth, Primitive Bombois says proudly that he "never went in for mass production, like Picasso. Why, even today I spend as much as three months on a single picture." He lavished particular care on one canvas in last week's show, entitled "Self-Portrait with the Big Hat" (see cut). "I've always had a weakness for big hats," says Camille Bombois. "More than anything else, they are to me the symbol of our profession...
Morning Afters. The story that goes with the pictures is spun out in disarmingly unliterary prose, a kind of sardonic self-portrait of a Matthew Brady in paratrooper's boots. It is held together by an elusive, improbable and unresolved love story involving a pink-haired British girl named Elaine (he called her Pinky) and interspersed with morning-after recollections of nights before spent with more-or-less real people with names like Ernie Pyle, Quentin Reynolds and Ernest. Hemingway. At worst, the text can hardly spoil the pictures-or spoil the illusion that all photographers are exasperating...
...museum's showcases. Most were only two inches in their largest dimension, often pasted on the back of cut-down playing cards, but in their small compass Hilliard had captured much of the sensuous exuberance of the age of Drake, Spenser and Sidney. One was a self-portrait, at 30, fine-featured and candid-eyed, painted against Hilliard's favorite indigo-blue background. The biggest (see cut) was a 10⅛-inch painting of the buccaneering 3rd Earl of Cumberland. Besides portraits of courtiers, there were miniatures of a lovesick youth leaning against a tree, entangled in roses...