Note on Art
A personal note from LeRoy Neiman on artistic reference, specifically Thomas Rowlandson's <em>A Gaming Table at Devonshire</em> House (1971).
<p class="p1">This note from LeRoy Neiman concerns Thomas Rowlandson's <i>A Gaming Table at Devonshire House. </i>The pen and ink drawing with watercolor features a selection of British aristocrats gathered around a gambling table. (Working and living on the Upper West side, Neiman first saw this piece at the Metropolitan Museum of Art, where the work is accessioned.)<span class="Apple-converted-space"> </span></p>
<p class="p1">Neiman had a longstanding fascination with gambling, rendering many works engaging the subject—e.g. <i>Chemin de Fer </i>(1966), two related pieces entitled <em>Working Girl at Caesars Palace </em>(1980), <i>Casino du M</i><i>onte Carlo</i> (1981), <i>Baden-Baden </i>(1987)<i>, </i>and <i>Desert Inn Baccarat </i>(1997)—as well as partnering with former CEO of Caesers Palace, Cliff Perlman, on a number of occassions. The majority of these pieces were either completed onsite or made from sketches done onsite, professing to the artist’s not only interest but participation in leisure culture.<span class="Apple-converted-space"> </span></p>
<p class="p1">The note then confirms this interest. Rolandson’s drawing is somewhat of a critique of British aristocratic life. The image, a tableau, zeros in on two members of the Spencer family, sisters Georgiana and Harriet Ponsonby, who hold elusive eye contact. Georgiana was at that point what would be nearly $6 million today in debt. The other figures in the work also seem to have partner off, depicted in contorted asides laced with dubious smirks. Although Rolandson gives no indication on what exactly is going on, it’s clearly not the most flattering portrait. (Neiman himself describes the work as disclosing the “greed of gambling females and the brutish attention of men [in British high society].”)<span class="Apple-converted-space"> </span></p>
LeRoy Neiman
LeRoy Neiman Foundation
LeRoy Neiman Foundation
c. 1990-2011
LeRoy Neiman
Property of the LeRoy Neiman Foundation; please consult the organization's archivist for further details.
Notes, <a href="http://leroyneimanfoundation.omeka.net/items/show/142">LN_Notes_1595</a>, <a href="http://leroyneimanfoundation.omeka.net/items/show/173">LN_Notes_1875</a>, <a href="http://leroyneimanfoundation.omeka.net/items/show/224">LN_Notes_2314</a>, <a href="http://leroyneimanfoundation.omeka.net/items/show/140">LN_Notes_1593</a>, <a href="http://leroyneimanfoundation.omeka.net/items/show/63">LN_Notes_909</a>, <a href="http://leroyneimanfoundation.omeka.net/items/show/90">LN_Notes_1012</a>, <a href="http://leroyneimanfoundation.omeka.net/items/show/92">LN_Notes_1021_01; LN_Notes_1021_02</a>, <a href="http://leroyneimanfoundation.omeka.net/items/show/199">LN_Notes_2214_01; LN_Notes_2214_02</a>, <a href="http://leroyneimanfoundation.omeka.net/items/show/141">LN_Notes_1594</a>, <a href="http://leroyneimanfoundation.omeka.net/items/show/80">LN_Notes_986_01; LN_Notes_986_02</a>, <a href="http://leroyneimanfoundation.omeka.net/items/show/37">LN_Notes_819_01; LN_Notes_819_02</a>, <a href="http://leroyneimanfoundation.omeka.net/items/show/216">LN_Notes_2302</a>, <a href="http://leroyneimanfoundation.omeka.net/items/show/163">LN_Notes_1776_01; LN_Notes_1776_02; LN_Notes_1776_03; LN_Notes_1776_04; LN_Notes_1776_05</a>, <a href="http://leroyneimanfoundation.omeka.net/items/show/151">LN_Notes_1764_01; LN_Notes_1764_02; LN_Notes_1764_03; LN_Notes_1764_04</a>
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English
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LN_Notes_2314
New York (N.Y.) New York
Note on Art
A note from LeRoy Neiman on artistic reference, specifically the work of English artists William Hogarth and Thomas Rowlandson.
This note from LeRoy Neiman provides a comment on artists Thomas Rowlandson and Willam Hogarth. Despite the brevity of the statement, Neiman seem to be drawing comparison between the two artists, hitting on a kinship in aesthetic and tone. At the bottom of the page is list of other 18th and 19th century illustrators engaging Humanism and satire. The record was most likely personal in nature.
LeRoy Neiman
LeRoy Neiman Foundation
LeRoy Neiman Foundation
c. 1990-2011
LeRoy Neiman
Property of the LeRoy Neiman Foundation; please consult the organization's archivist for further details.
Notes
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English
Document
LN_Notes_2313
New York (N.Y.) New York
Note on Art
A note from LeRoy Neiman on artistic reference, specifically the prints of English caricaturist Thomas Rowlandson.
This note from LeRoy Neiman on Thomas Rowlandson looks at the role of printmaking in the former artist's career. Unlike most of Neiman's writings on art, this particular record provides a more detailed account of print processes. In addition to this delineation, he places the works in the artist’s oeuvre according to both public perception at the time and personal aesthetic judgment. Rowlandson’s prints were very influential on Neiman’s style.
LeRoy Neiman
LeRoy Neiman Foundation
LeRoy Neiman Foundation
c. 1990-2011
LeRoy Neiman
Property of the LeRoy Neiman Foundation; please consult the organization's archivist for further details.
Notes
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English
Document
LN_Notes_2303
New York (N.Y.) New York
Note on Art
A personal note from LeRoy Neiman on, specifically English artists Thomas Rowlandson and William Hogarth.
This note from LeRoy Neiman looks at work from English artists Thomas Rowlandson (1756-1827) and William Hogarth (1697-1764). Rowlandson and Hogarth were near-contemporaries with a comparable interest in class issues of 18th century England. This particular record is an abbreviated list of the artists’ respective social tableaus. Neiman had a longstanding investment in not only class issues but also a kind of “being-in-the-world,” often sketching and painting “live.” This artistic commitment to public life then links the figures. Although the list is in someways a registry of artistic reference, the document should not be seen as providing direct allusion to particular works or composition from Neiman. Instead, the note seems to suggest sort of art historical positioning of his own works in this vein of satire and class consciousness.
LeRoy Neiman
LeRoy Neiman Foundation
LeRoy Neiman Foundation
c. 1990-2011
LeRoy Neiman
Property of the LeRoy Neiman Foundation; please consult the organization's archivist for further details.
Notes, <span><span><a href="http://leroyneimanfoundation.omeka.net/items/show/223">LN_Notes_2313</a>, <span><a href="http://leroyneimanfoundation.omeka.net/items/show/217">LN_Notes_2303</a>, <span><a href="http://leroyneimanfoundation.omeka.net/items/show/80">LN_Notes_986_01;LN_Notes_986_02</a>, <span><a href="http://leroyneimanfoundation.omeka.net/items/show/224">LN_Notes_2314</a>, </span></span></span></span></span><span><span><span><span></span></span></span></span><a href="http://leroyneimanfoundation.omeka.net/items/show/142">LN_Notes_1595</a>, <a href="http://leroyneimanfoundation.omeka.net/items/show/173">LN_Notes_1875</a>, <a href="http://leroyneimanfoundation.omeka.net/items/show/224">LN_Notes_2314</a>, <a href="http://leroyneimanfoundation.omeka.net/items/show/140">LN_Notes_1593</a>, <a href="http://leroyneimanfoundation.omeka.net/items/show/63">LN_Notes_909</a>, <a href="http://leroyneimanfoundation.omeka.net/items/show/90">LN_Notes_1012</a>, <a href="http://leroyneimanfoundation.omeka.net/items/show/92">LN_Notes_1021_01;LN_Notes_1021_02</a>, <a href="http://leroyneimanfoundation.omeka.net/items/show/199">LN_Notes_2214_01; LN_Notes_2214_02</a>, <a href="http://leroyneimanfoundation.omeka.net/items/show/141">LN_Notes_1594</a>, <a href="http://leroyneimanfoundation.omeka.net/items/show/80">LN_Notes_986_01; LN_Notes_986_02</a>, <a href="http://leroyneimanfoundation.omeka.net/items/show/37">LN_Notes_819_01;LN_Notes_819_02</a>, <a href="http://leroyneimanfoundation.omeka.net/items/show/163">LN_Notes_1776_01; LN_Notes_1776_02; LN_Notes_1776_03; LN_Notes_1776_04; LN_Notes_1776_05</a>, <a href="http://leroyneimanfoundation.omeka.net/items/show/151">LN_Notes_1764_01; LN_Notes_1764_02; LN_Notes_1764_03; LN_Notes_1764_04</a>
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English
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LN_Notes_2302
New York (N.Y.) New York