Portrait of Edmond Maitre 1869

Curator: Frederic Bazille painted this "Portrait of Edmond Maitre" in 1869 using oil paint. The sitter is rendered in almost photorealistic detail. Editor: What strikes me first is this gentleman’s air of contemplation. The way he holds the cigar, his downward gaze… There's a somberness to the composition, even a touch of world-weariness, but without descending into outright melancholy. I wonder about the sitter, Monsieur Maitre: Was he a patron of the arts, a friend, a fellow artist even? What do you make of that somewhat dark backdrop, creating the spotlight around Maitre's head? Curator: Ah, Bazille had such a beautiful hand for his portraits; he managed to reveal the inner person as much as their physical characteristics. Maitre, yes, a pianist and composer in fact. This painting reveals a moment of reflection or anticipation – and I like that touch of informality in the polka dot cravat which creates, for me, an atmosphere of quiet domesticity rather than solemn officialdom. As for the background, yes it’s dark, but think of it like a stage setting the scene, pushing Maitre forward so that our whole attention is held on him. Editor: You know, the darkness does that, doesn't it? It frames the subject within a particular class and social environment—the well-to-do, pondering their existence within comfortable interiors. And there’s something to be said, too, about who gets to be portrayed in art. Who were these people and what roles did they play in their time? Did they ever question or challenge that, even? I think the historical lens is so important when analyzing art like this… Curator: And I can understand that completely: but what grabs me here, in a far less academic way, is the wonderful light on Maitre's face, and on the pale fingers of the hand holding the cigar. It's exquisite, isn't it? Like catching a secret moment. It’s also just beautiful as an example of Bazille’s wonderful artistic technique. You forget about gender or politics for a moment, and instead recognize its power through simply feeling! Editor: True. It’s the kind of intimate observation that is so captivating, despite everything. Even now, and regardless of the politics of its period. Curator: That ability to catch an inner life… isn't that what truly elevates portraiture to great art?