Head of an Old Man c. 1877 - 1879

Curator: This is Frank Duveneck's "Head of an Old Man," likely created between 1877 and 1879. It exemplifies Duveneck's commitment to realism. Editor: Immediately, I'm struck by the thick application of oil paint. Look at that impasto! It feels almost sculptural, as if Duveneck were modeling the form with the pigment itself. There's a raw quality here, a kind of materiality that makes me think about the physical labor involved. Curator: The painting emerged during a time of significant artistic exchange between Europe and America. Duveneck's training in Munich greatly influenced his style, moving away from academic painting to explore a more expressive and honest depiction of his subjects. You see him embracing genre painting here. Editor: Absolutely, and it makes me think about the availability and quality of materials he had access to at that time. Was he deliberately choosing coarser pigments, or were those just what was available? I wonder about the societal structures in place impacting supply chains of these art supplies. Curator: Well, consider how portraiture was evolving. Before photography became widespread, paintings like these offered a direct way for people to see and be seen, to be remembered. This "Old Man" embodies the era's shift towards a focus on common people, reflecting a growing democratization of art, but perhaps idealized by those with resources for commissioning. Editor: Agreed, the material choices aren't incidental; they're indicative of his artistic choices within an art world changing in favor of looser and expressive brushwork. The loose brushstrokes don’t necessarily look unskilled. These deliberate choices invite viewers to perceive character and skill. I am keen to study the precise type of pigment used. Curator: This work also reflects the increasing role of art academies and salons, shaping both the production and consumption of art. "Head of an Old Man" showcases a break from tradition. His approach helped challenge those established academic systems. Editor: And thinking about the canvas itself - was it pre-primed or prepared in the studio? The layering of paint tells us a story of both creation, and time – and I wish it could tell me more about its fabrication. It grounds us in the materiality of making. Curator: By moving towards realism, Duveneck’s study is speaking on cultural values undergoing substantial change and societal restructuring as they move away from idealization. Editor: Right, there's a beauty in this painting’s rough honesty—a testament to his dedication to form through direct handling of his medium.