Guy Pène Du Bois (American, 1884-1958). The Ladies Room, The Jumble Shop Tea and Tap Room, The Bal Masque, 1934. Oil and...

Description

Guy Pène Du Bois (American, 1884-1958)
The Ladies Room, The Jumble Shop Tea and Tap Room, The Bal Masque, 1934
Oil and charcoal on canvas
55-1/2 x 40 inches (141.0 x 101.6 cm)
Signed and dated lower left: Guy Pène Du Bois / '34

PROVENANCE:
The artist;
Estate of the above;
James Graham & Sons, New York, acquired from the above;
Private collection, Arizona.

EXHIBITED:
Polk Museum of Art, Lakeland, Florida, "Edward Hopper and Guy Pène du Bois: Painting the Real," December 17, 2022-March 26, 2023.

In the wake of the repeal of Prohibition, the Bal Masque Jumble Shop on 8th Street, a renowned New York artists' bar and club, sought the artistic talents of Guy Pène Du Bois in 1934. The fruits of this collaboration were a series of murals, of which only two of the original ten have survived.

While Pène Du Bois' earlier works from the 1910s and 1920s are characterized by social commentary and a certain degree of "type-casting," these murals distinguish themselves as an exploration of relationships, differing markedly from mere illustrations of human connections.

The essence of Pène Du Bois' artistic brilliance lies in his skill as a portraitist, particularly in his deep affection for people, especially women. This affinity was not lost on his patrons and collectors, including esteemed individuals such as Maud and Chester Dale and Gertrude Vanderbilt Whitney, who held portraiture in high regard as an art genre.

The life of a portrait painter is replete with challenges. To sustain themselves and their craft, they must continually seek and undertake commissions, which may not always entail an affinity, understanding, or curiosity about their subjects. For instance, a close examination of a John Singer Sargent portrait can often reveal whether the artist had a genuine connection with the sitter, whether there was a mutual fondness, or if it was simply a commissioned task. It is a peculiar irony that late in life, Sargent abandoned portrait painting to pursue his love for landscapes. Similarly, in his later years, Pène Du Bois transitioned from depicting social scenes and figures within their landscapes to the realm of portraiture, which he held in deep affection, marking a profound shift in his artistic pursuits. He aptly articulated, "In the end, it's the people who are more important than the setting."

The Ladies Room is a poignant portrayal of a relationship, encapsulating the essence of an uncertain era. Its ambiguity prompts viewers to ponder the nature of the relationship between the two women depicted, leaving us uncertain about their prior acquaintance, whether they are family, friends, or strangers. This open-ended interpretation infuses the work with suspense, compelling us to question the precise nature of the interaction depicted.

The significance of these Jumble Shop murals lies in their artistic merit and historical import, marking a pivotal juncture in Pène Du Bois' artistic evolution and in the socio-cultural milieu between the World Wars in both America and Europe. Their resonance is palpable, representing the artist's enduring impact on American art history.


More information about Guy Pène Du Bois. See also: Du Bois, Guy Pène, Du Bois, Guy, Du Bois, Guy Pene, Guy Pene Du Bois Artist.



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