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LeRoy Neiman (American, 1921-2012). Portrait of Mr. and Mrs. Pinsky, 1949. Oil on canvas. 35-1/4 x 4...
美国 北京时间
2022年05月11日 开拍 / 2022年05月09日 截止委托
拍品描述 翻译
LeRoy Neiman (American, 1921-2012)
Portrait of Mr. and Mrs. Pinsky, 1949
Oil on canvas
35-1/4 x 48 inches (89.5 x 121.9 cm)
Signed lower right: LeRoy Neiman
PROVENANCE:
The artist;
Mr. and Mrs. Pinsky, commissioned from the above, 1949;
By descent to the present owner.
EXHIBITED:
The Collectors Gallery, St. Paul, Minnesota, 1957
LITERATURE:
C. Pinsky, LeRoy Neiman, Select, March 1962, p. 33.
In a letter from Leroy Neiman to the sitters of the present work, the artist details his fast and fun life working for Playboy magazine. From St. Tropez to Monte Carlo, Neiman paints a brilliant picture with his words. However, it is the ending note asking for the Pinsky's to give his ailing mother a call to cheer her up that reveals his close relationship with the couple. In a March 1962 article for Select magazine, Carol Pinsky details their friendship and how the artist's first commissioned portrait came to be:
"I'm proud of that picture. For many months I have felt this way and that; but my expressionist mood has been returning slowly and I look back on doing that portrait as on of my most exciting experiences."
"Leroy Neiman was speaking of a huge portrait of two people which was included in the "Collector's Club - 1957" exhibition at the Walker Center. It was hanging, impressively alone, on a white wall and it pictured my husband and myself. The painting was done in 1947; in 1952, Neiman continued to write of it: 'That portrait we did of you is honest! The attitude of the whole thing was just right. If I could paint as freely as that and with as much inspiration every time I picked up a brush I would have something worthy of my efforts each day. Please defend the portrait always. You have my word I'm glad it is as it is. I will do more in the same manner, many more. And there may be some that will be more accurate in drawing, more technically correct. But I shall never do one more sincerely.'
"How did Leroy happen to paint a portrait of us? In 1947, we three were students in Clement Haupers' life-drawing class which met in the penthouse of an ancient office building in St. Paul. Leroy was twenty-five then, big and burly, with a huge black mustache and huge black cigar. Even then, he had an incredible ability to render the human form; and though he came back from the war to a factory job, he talked and thought incessantly of painting.
"One night we discussed portraits. 'There isn't a sucker alive,' Leroy boomed, 'who would pay good dough for a portrait over which he didn't have control.' We roared back, 'We, at least, would never presume to tell a painter how to paint.' Leroy paced up and down, filled the room with dirty smoke and insisted: 'Do you mean to tell me that if I painted a portrait of you and Irving, for example, you wouldn't try to tell me what style to paint, what colors to use, what size the painting should be, and then, when finished, argue with me about 'likeness'?'
"To prove our point, we set a date with Neiman and agreed on a price. Neiman arrived at eight in the morning with his yellow straw hat, his huge porcelain table-top palette, his supply of black cigars and a bottle of bourbon. He spent the first hour perusing our wardrobes and deliberately chose a pair of blood-red lounging pajamas and pearls for me and a wine-colored robe for my husband. He painted steadily until nine at night when he slumped on the floor and called the painting done.
"Like the 17th century nobles hoping for a slice of immortality through their portraits, my husband and I may have snared our own corner. Barring that, the huge, larger-than-life-size portrait of us has dominated every living room since our dormer apartment days. At the very least it has been the most marvelous conversation piece anyone ever scared up."
The present work is accompanied by a copy of the letter from the artist to the sitters and an original copy of the Select magazine in which the painting is featured.
Condition Report*: Unlined canvas. Under UV exam, there does not appear to be inpaint. Two tiny fleck (1/8 inches) of loss in the upper right corner. 5 inch scratch between the figure's heads. A few scattered small areas of craquelure. Frame wear with minor losses, most visible along the right edge. Framed Dimensions 44.5 X 56 Inches

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