The London Lounge

Igor Strawinsky with spectators, by Jacques-Emile Blanche / 1915



Sir Laurence Olivier with Garrick Club tie, by Bernard Hailstone (?)



"A Young Dandy on the Beach" (detail), by Lucien Hector Jonas / 1929



"The Circle of the Rue Royale", by James Jacques Joseph Tissot / 1868

Antonio Garcia on the Beach (1909), by Joaquín Sorolla





Sommeraften ved Skagen Strand/Summer night on Skagen Beach (1899), by P.S. Krøyer

Et selskab af danskere kunstnere i Rom/Danish Artists in Rome (1837), by Constantin Hansen

Gruto:
These are great images! I took the liberty of copying into this thread the portrait of Erik Stömberg you have posted in another thread. Indeed, the image below was my inspiration to start a new thread on paintings of sartorial interest.



As for Constantin Hansen’s painting, I have recognized it from a text I once read on the gradual evolution of pants. Here’s a short comment on it:

by Einar Hein (1894)

Aubrey Beardsley, 1894
by
Walter Richard Sickert 1860-1942


W. Graham Robertson, 1894
by
John Singer Sargent 1856-1925


Henry Cabot Lodge, 1890
by
John Singer Sargent 1856-1925

Perhaps impressionists are best at illustrating DRESS in their paintings - as a general perception - because you can't really make out the clothes.
Take Modigliani for example:






Jean Cocteau!

Very nice!

I'm glad you like them!
Here is more:

RENOIR

CEZANNE

DEGAS





The last one - for the excellent rendition of a silk plush top hat!

Wonderful paintings! It's amazing how an artist's rendering is so much more appealing than a bald, lifeless photo.

Alot of drape going on in the paintings though some nice structured coats as well!

A fair, balanced post, I would say.

Perception is most often not an objective process and memories are even farther from reality. I find it interesting how clothes can change the way we are perceived by others - the impression we leave in their minds. Take Modigliani's portraits of Jean Cocteau and Mario Varvogli for example:



Cocteau certainly didn't have the shoulders of a scarecrow and Varvogli couldn't have been shoulderless. However, look what different impressions their respective clothes and allures made on Modigliani! If we understand this, we can use clothes to project a certain image, or at least lead others' perception in the direction we want (look authoritative, unapproachable, friendly, relaxed , impressive etc.) - much the way Michael explained in a recent video on dresswithstyle.com.

Here is Cocteau's portrait by Federico de Madrazo de Ochoa:

The perception is not much different from Modigliani's, is it?

And here is the original, with his structured coats and built up shoulders (so much for a balanced and fair post, UC ):

(Cocteau in musical surgery...)



What's more, he really had no need for such built up, heavily padded coat shoulders at all!:


Too bad Modigliani didn't introduce them to each other's tailors

A couple of paintings by Magritte. Franz Kafka used to dress this way. I've always loved the 1920's European look.

The Frenchman, by Edward Munch (1905).