| 词条 | Portrait of Richard Gallo |
| 释义 |
|onlysourced=yes|qid = Q28494210}}The Portrait of Richard Gallo is an oil on canvas painting by French painter Gustave Caillebotte in the Nelson-Atkins Museum of Art. The painting measures 97 × 116 cm. and dates from 1881, and is part of a series of seven portraits of Richard Gallo, one of the best childhood friends of the artist, composed between 1878 and 1884.[1]{{quote|"This series demonstrates with great artistic coherence how personal contribution of the artist to express an impressionistic point of view on the modern world".[2]}} DescriptionThis portrait of 1881 shows a young man dressed elegantly in black, which contrasts with the white fabric of the sofa. The social position of the portrait subject, a member of the big bourgeoisie4 and the son of a banker, is suggested by the refinement of the decoration with gilded woodwork, the expensive fabric of the sofa, the care of his costume and the confident but reserved attitude he observes, arms crossed with a newspaper unfolded on the left thigh. This newspaper evokes the function of Richard Gallo who came that year to enter as a journalist in the conservative and republican newspaper, The Constitutional which his brother-in-law, Alcide Grandguillo, is the owner. However, if you look closely, this unfolded newspaper is not Le Constitutionnel, but a new competitor recently launched, Le Figaro, as an allusion to the competitive world of the French press of that time and the new law of 1881 on the freedom of the press which caused great debate that year. Richard Gallo then lives near the apartment of Gustave Caillebotte and his brother Martial of 31 Boulevard Haussmann in a district in the modern and prestigious era, inhabited by the upper middle class of finance. Gallo's apartment is nearby, at 40 rue du Rocher8. Caillebotte painted his friend with him in his studio in Autoportrait au chevalet (1879-1880) which proves their closeness and their agreement on the cultural, artistic and political life of that time. This painting was exhibited at the last impressionist exhibition in 1882, but it went relatively unnoticed. The influence of the master of Caillebotte, Leon Bonnat, seen in the rendering of the face and the black suit, but the diagonal perspective (with the play of angle), the look of Richard Gallo and the decoration of arabesques and stripes of the fabric of the sofa, express the impressionist point of view of the artist. References1. ^{{Cite web|url=https://search.proquest.com/docview/304941894|title=The Richard Gallo Series - ProQuest|access-date=2017-12-05}} {{Gustave Caillebotte}}2. ^Kirk T. Varnedoe, "Caillebotte: An Evolving Perspective," in Gustave Caillebotte: A Retrospective Exhibition, J. Kirk T. Varnedoe et Thomas P. Lee, Houston: The Museum of Fine Arts, 1987, pp. 52-53. 6 : Paintings by Gustave Caillebotte|1881 paintings|19th-century portraits|Portraits of men|Paintings in Missouri|Paintings of the Nelson-Atkins Museum of Art |
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