id: 117030 accession number: 1937.575 share license status: CC0 url: https://clevelandart.org/art/1937.575 updated: 2019-11-18 09:56:36.092000 Self-Portrait, c. 1812. Joseph Paelinck (Belgian, 1781-1839). Oil on canvas; framed: 114 x 94.5 x 7.5 cm (44 7/8 x 37 3/16 x 2 15/16 in.); unframed: 89 x 69.3 cm (35 1/16 x 27 5/16 in.). The Cleveland Museum of Art, Gift of Elisabeth Ireland and Robert Livingston Ireland, Jr., in memory of their mother, Mrs. Perry W. Harvey 1937.575 title: Self-Portrait title in original language: series: series in original language: creation date: c. 1812 creation date earliest: 1807 creation date latest: 1817 current location: 202 French Neoclassical Decorative Arts creditline: Gift of Elisabeth Ireland and Robert Livingston Ireland, Jr., in memory of their mother, Mrs. Perry W. Harvey copyright: --- culture: Belgium, 19th century technique: oil on canvas department: Modern European Painting and Sculpture collection: Mod Euro - Painting 1800-1960 type: Painting find spot: catalogue raisonne: --- CREATORS * Joseph Paelinck (Belgian, 1781-1839) - artist Born in Oostakker, a village near Gent, Joseph Paelinck first studied at the Gent Drawing Academy. In 1802 he won the academy prize, enabling him to leave for Paris. There he enrolled in David's (q.v.) workshop, where he studied until 1806 before returning to Belgium. In 1808 he left for Rome and stayed there through 1812. During this period he regularly sent his paintings to exhibitions in Gent, thus establishing his reputation. After the fall of Napoleon, the Kingdom of the Netherlands was created in 1815, which included the present-day countries of Belgium and the Netherlands, and King William I ascended the throne. Paelinck soon was inundated with official commissions, portraits as well as historical, mythological, and religious subjects. He moved from Gent to Brussels, where a second court was established in addition to the royal family's principal residence in The Hague. His most famous paintings, La belle Anthia (1820, Musée des Beaux-Arts, Gent) and La toilette de Psyche (1823, Rijksmuseum, Amsterdam), recall David's style during his years of exile in Brussels. At the time of David's death in 1825, ideas and taste had significantly evolved. The new bourgeoisie in power sought other subjects in another style, and Paelinck's neoclassical works became undesirable and were replaced by a more romantic art. After the break-up of the kingdom and Belgium's independence in 1830, he even contemplated going into exile because his liaison with the Dutch court was viewed with hostility in the new Belgium. Having outlived his own painting style, Paelinck died in Brussels in 1839 at age fifty-eight. --- measurements: Framed: 114 x 94.5 x 7.5 cm (44 7/8 x 37 3/16 x 2 15/16 in.); Unframed: 89 x 69.3 cm (35 1/16 x 27 5/16 in.) state of the work: edition of the work: support materials: inscriptions: --- CURRENT EXHIBITIONS title: Masterpieces of Art from the New York and San Francisco World's Fairs opening date: 1940-02-07T05:00:00 Masterpieces of Art from the New York and San Francisco World's Fairs. The Cleveland Museum of Art, Cleveland, OH (February 7-March 7, 1940). title: The Silver Jubilee Exhibition opening date: 1941-06-23T04:00:00 The Silver Jubilee Exhibition. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 23-September 28, 1941). title: French Drawings and Watercolors from French Public and Private Collections opening date: 1942-01-06T05:00:00 French Drawings and Watercolors from French Public and Private Collections. The Cleveland Museum of Art, Cleveland, OH (January 6-February 15, 1942). title: 19th and 20th Century French Art and Leonard C. Hanna, Jr. Loans opening date: 1943-06-22T04:00:00 19th and 20th Century French Art and Leonard C. Hanna, Jr. Loans. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 22-September 1, 1943). title: Baron Gros, Painter of Battles: The First Romantic Painter opening date: 1956-03-08T05:00:00 Baron Gros, Painter of Battles: The First Romantic Painter. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 8-April 15, 1956). --- LEGACY EXHIBITIONS * The Fifth Loan Exhibition of Old and Modern Masters. Exh. cat. The Detroit Institute of Arts (October 1927), no. 77, Ingres, Portrait of a Young Man. Canvas: 27 ½ inches by 36 inches. Lent by the Erlich Galleries.
New York, Ehrich Galleries. (1929).
cma. French Art since Eighteen Hundred (1929), CMA Bulletin 16 (1929): 159.
Pittsburgh, Carnegie Institute. A Survey of French Painting (1936), no. 11 (repr.), Ingres, Portrait of a Man, lent by Mrs. Perry W. Harvey.
cma. Catalogue of the Twentieth Anniversary Exhibition of the Cleveland Museum of Art. (1936), no. 283 (repr.).
San Francisco, Golden Gate International Exhibition. Masterworks of Five Centuries (1939), no. 120 (repr.) (as Ingres).
cma. Masterpieces of Art from New York and San Francisco World's Fair (1940), no. 41.
Art Gallery of Toronto. An Exhibition of Great Paintings in Aid of the Canadian Red Cross (1940), no. 70 (Ingres).
Toledo Museum of Art; Art Gallery of Toronto. The Spirit of Modern France. An Essay on Painting in Society 1745-1946 (1946-47), no. 15, A Gentleman of Rome 1807-1811.
Cincinnati, Taft Museum. The Regency, Empire, and Directoire Periods (1947), no cat.
Detroit Institute of Arts. French Painting from David to Courbet (1950), no. 21 (as Ingres).
Buffalo, N.Y., Albright Art Gallery. Forerunners of Modern Painting (1952); see Gallery Notes (May-October 1952), 10 (repr.) (as Ingres), 13-14 (repr.). --- PROVENANCE Alessandro Contini-Bonacossi collection, Rome. Sold 1926 to Ehrich Galleries, New York. Bought by Mrs. Perry W. Harvey, Cleveland, 1929. Given to the CMA in 1937. date: footnotes: citations: --- fun fact: digital description: wall description: Born in a small village in Belgium, Paelinck attended a local drawing academy as a youth. His skill earned him a scholarship to study in Paris where he worked with Jacques-Louis David (1748–1825), the leading French neoclassical master and official court painter of Napoleon I. Paelinck later moved to Rome to study ancient art firsthand and to participate in the city's lively international art scene. Paelinck's attire shows him as a dandy, wearing fashionable, subtly colored clothes. Over his black suit, he wears a box-coat—a garment having a wide, velvet collar originally associated with coachmen but popular among artists in Rome during the early 19th century. The coat demonstrates Paelinck's skill at depicting textures. Likewise, the simplicity of his desk and chair—based on ancient Greek and Roman models—reflects the highest fashion of the time. --- RELATED WORKS --- CITATIONS Paintings in the Cleveland Museum of Art. [Cleveland]: The Cleveland Museum of Art, 1945. page number: Reproduced: p. 32 url: https://archive.org/details/CMAPaintings1945/page/n40 --- IMAGES web: https://openaccess-cdn.clevelandart.org/1937.575/1937.575_web.jpg print: https://openaccess-cdn.clevelandart.org/1937.575/1937.575_print.jpg full: https://openaccess-cdn.clevelandart.org/1937.575/1937.575_full.tif