2015, Kehinde Wiley, Equestrian Portrait of Tomasso of Savoy-Carignan -- Timken Museum of Art (San Diego)

            From the museum label: 

As part of its ongoing curatorial series, Reconsidering..., the Timken Museum of Art is proud to present for its first time in San Diego a major work by the celebrated contemporary artist, Kehinde Wiley. Wiley is, perhaps, most widely known for his dazzling portrait of President Barack Obama (2018, National Portrait Gallery). The artist, born in Los Angeles but living today in New York, has a deep interest in grand manner images. Using a technique that he calls "street casting," Wiley often puts young Black men and women into the stylized poses favored by artists during the Renaissance, Baroque, Rococo, and Neoclassical periods. Through this act of substitution, the artist introduces new characters into the repertoire of art history and challenges the ways in which great art has been seen in the past. In the case of Equestrian Portrait of Tommaso of Savoy-Carignan, the artist adapted the seventeenth-century strategies of Anthony van Dyck to make an image that is at once heroically commanding and vitally new. Van Dyck was commissioned to paint several portraits of the Italian military leader, Tommaso Francesco, Prince of Savoy-Carignan. The most famous of these hangs today in the Galleria Sabauda in Turin (see illustration) and is the compositional source for this image.

The Timken's presentation of Wiley's work is offered in a side-by-side comparison with our own portrait by van Dyck: Mary Villiers, Lady Herbert of Shurland, which was painted at roughly the same time as Prince Tommaso Francesco of Savoy-Carignan (1634). Like Wiley's figure in the adjacent image, Mary Villiers looks back at the viewer in a direct, unguarded way. Her gaze meets ours with quiet expectancy. Painted when the sitter was still just a teenager, Mary was nonetheless already a widow--note the black mourning ribbon on her dress--and van Dyck's likeness may have served as a tool to help secure her future marriage. In most ways, Wiley's rendition of Tommaso shares the Flemish painter's interest in resplendent draperies and dynamic movement. The powerful young man on the rearing horse in the contemporary representation has a notably intense look on his face, however, something not really apparent in van Dyck's portrait of Tommaso.

Taken on: December 27, 2024

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Photo by R.M. Lenox

Timken Museum of Art (San Diego) « less

Sets appears in: • All Paintings (chronological order) • All Paintings (random order) more » • Paintings with wall label descriptions • 2000-present • American painters • Timken Museum of Art (San Diego) • Date taken « less

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