Portrait of Fritz Meyer-Fierz 1909
drawing
portrait
drawing
art-nouveau
intimism
academic-art
realism
Here's "Portrait of Fritz Meyer-Fierz" made by Jan Toorop, using what looks like pencil on paper. Look at those lines, quickly mapping out a likeness. You get a sense of the artist’s hand moving, feeling around for the form, right? I imagine Toorop stepping back, squinting, then diving back in to catch the light in the beard, the set of the jaw. It feels like he's trying to capture not just a face, but a person, a presence. I wonder what Toorop and Meyer-Fierz talked about while he sat for this portrait? I think about the creamy, almost buttery ground, against the graphite. The quick sketch against the luxurious gold. Like a meeting of two worlds: the immediacy of the sketch, the way it captures a fleeting moment, and the timelessness, and almost historical weight, of the medium. It reminds me that artists are always in conversation with each other. We’re all just trying to figure things out, one line, one brushstroke at a time. We hope the conversation continues.
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Jan Toorop was a leading artist in the Netherlands in the turn of the last century. He was born in Java, in modern-day Indonesia, the son of a Dutch-Indonesian father and an English-Chinese mother. At 14, he moved to the Netherlands, where he trained as an artist. He was active as a draftsman, painter, printmaker, and designer of posters, book illustrations, and decorative arts. This is one of a pair of portraits (see also 2018.35.1) that Toorop drew in Switzerland in 1909. They depict husband and wife Fritz and Nina Meyer-Fierz of Zurich, who were major collectors of work by modern artists, including Vincent van Gogh, Paul Cézanne, Paul Gauguin—and Toorop. Toorop depicted the 49-year-old Nina as a forceful figure, with an intense gaze. Fritz’s eyes, on the other hand, are averted from the viewer, giving him a more retiring demeanor.
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