Festive Fostering: Shade Tree Commission & Princeton Community
Home > Festive Fostering: Shade Tree Commission & Princeton Community
Festive Fostering: Shade Tree Commission & the Princeton Community
Welcome to Princeton Academy of Art’s ornament page!
Local businesses and nonprofits were given the opportunity to foster a tree provided by the Shade Tree Commission for the holiday season. All of the fostered trees seen on Nassau St and around Princeton will be planted once the Holidays have passed.
Thank you so much for taking the time to look closely at our tree. Check your guesses of who these incredible portraits are of, and who painted them below.
Learn more about the artwork that we do here at the Academy by clicking here.
Portrait of Maria Salviati de’ Medici and Giulia de’ Medici by Pontormo, ca. 1539. Giulia was a Medici relative who was raised in Maria’s household after the murder of the child’s father, Duke Alessandro de’ Medici (1511-1537). As Alessandro was born of a liaison between a Medici cardinal and an African slave, this formal portrait is the first of a child of African ancestry in European art. Giulia grew up with all the status of a Medici and married another aristocrat. Descendents of hers are alive today.
Simon Vouet, Self-portrait (c. 1626–1627) Musée des Beaux-Arts de Lyon
Dancing Indian Girl with Hookah by Tilly Kettle, England (1772) Oil on Canvas, 193 x 119.4 cm Yale Center for British Art, Paul Mellon Collection
Self Portrait by Marie-Louise-Elisabeth Vigée-Le Brun, 1800.
Gainsborough, Thomas; Self-portrait of Thomas Gainsborough, R.A.
Portrait of Annushka by Ivan Petrovich Argunov, Russia (1767). Annushka, a Kalmyk girl of Western Mongolian ancestry, was a serf and pupil of Countess Varvara Sheremeteva, daughter of Count Sheremetev. Argunov himself was a serf of Count Sheremetev (1713-1788). Annushka is holding a portrait of the late Countess.
Self Portrait Detail within the Ecumenical Council by Salvador Dalí, 1960.
Self-Portrait (detail of The Calling of Saint Matthew) by Juan de Pareja 1661. Velázquez‘s Portrait of Juan de Pareja is somewhat better-known, but it seems that the Metropolitan Museum of Art added this detail from another painting by de Pareja (The Calling of Saint Matthew is in the Museo del Prado in Madrid). Juan de Pareja was born c. 1606 to enslaved parents in Spain, became assistant to court painter Velázquez and eventually a master painter in his own right, and was freed by Velázquez in 1650.
Portrait of a Cherokee Man by William Hodges, The Royal College of Surgeons of England England (c. 1750s) The Hunterian Museum
Self Portrait by Diego Velazquez, 1640
Portrait thought to be of Tan Che Qua, resident of London between 1769 and about 1772 England (c. 1769) by John Hamilton Mortimer
Self Portrait by Titian, 1547
Soft Self-Portrait with Grilled Bacon by Salvador Dali, 1941
Self Portrait by Judith Leyster, 1630. National Gallery of Art, Washington DC, USA. The Dutch-born Leyster’s brash use of brushstrokes resulted in a style far beyond her time. Her bright, jolly portraits of musicians—usually mid-song—display psychologically charged facial expressions of sitters who were often paired with still life objects, emphasizing the artist’s skill at combining genres. – artsy.net
Louise Elisabeth Vigee Le Brun, Self Portrait A leading portraitist, Le Brun was well-known for painting her subjects in a flattering and elegant style. As a result, many considered her to be one of the most fashionable portraitists of her time. After some training from her father, she entered the Académie de St Luc at a time when very few women were admitted. By the age of 20, she entered court as a royal painter. Later, Queen Marie-Antoinette patronized her, of whom she painted 30 portraits.
Angelica Kauffman, Self-Portrait, 1770–75, National Portrait Gallery, London, UK. Kauffman was a Swiss Neoclassical portraitist, landscape and decoration painter. A wealthy, independent, and vigorously talented woman, she was a female force to be reckoned with. Notably, she was one of the two female founding members of the Royal Academy in London in 1768.
The Magus Balthazar by Jacques-Albert Gérin France (dated 16?9 on back) Oil on canvas; 88.7 x 69 cm. This striking image depicting Balthazar, one of the three Magi, is a rare extant painting by Jacques-Albert Gérin who worked in and around the city of Valenciennes. In his Biograhpies Valenciennoises (1826), Gabriel Hécart identified Gérin as the young Antoine Watteau’s first teacher when the latter began artistic studies in his native city.
Self-portrait by Sir Joshua Reynolds, 1788.
Self Portrait with a Friend by Raphael (Sanzio), 1518
Probable self-portrait of Botticelli in his “Adoration of the Magi”, 1475
Young Man With a Bow by Hyacinthe Rigaud France (c. 1697) Oil on Canvas, 56.8 × 43.7 cm Musée des Beaux-Arts de Dunkerque
Self-Portrait when Young 1753-8 Sir Joshua Reynolds 1723-1792 Purchased 1871
Lawrence, Thomas; Self-portrait of Sir Thomas Lawrence P.R.A.
Portrait of a Malay Woman (Identity Unknown) by Robert Home, England (c. 1770–1788) Oil on canvas, 92 x 75 cm. The Royal College of Surgeons of England Collection
Self-Portrait by Raphael (Sanzio), 1506
Muslim Lady Reclining by Francesco Renaldi (1789) Oil on Canvas, 55.9 x 69.9 cm. Yale Center for British Art, Paul Mellon Collection.
Self Portrait (1641) by Sir Anthony Van Dyck (1599 – 1641)
Self Portrait, Mary Cassat, Mary Cassatt was born in Allegheny City, Pennsylvania and attended the Pennsylvania Academy of Fine Arts, where most of the female students saw art not as a profession but as a privilege of high society. She left the Academy for Paris in 1866, frustrated with her teachers’ attitudes toward female artists and determined to study the masters on her own. In France, Cassatt enlisted various private tutors and copied works in the Louvre to develop her skill.
