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Vito TomaselloPortrait of Young Manc1940s
c1940s
$400
£303.81
€349.44
CA$558.88
A$623.21
CHF 325.17
MX$7,647.05
NOK 4,138.84
SEK 3,921.46
DKK 2,607.98
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About the Item
Outstanding male portrait by 20th-century American artist, Vito Tomasello.
Portrait of Young Man, John Alcorn, Eliot House, Cambridge MA.
Pencil on paper, sheet measures 8.5 x 11 inches. Unframed.
A lifetime NYC resident, Tomasello is best known for his male nude drawings and paintings, as well as documenting the Ballet Trocadero dancers of the 1970's.
- Creator:Vito Tomasello (American)
- Creation Year:c1940s
- Dimensions:Height: 11 in (27.94 cm)Width: 8.5 in (21.59 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Wilton Manors, FL
- Reference Number:1stDibs: LU245215137662
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By Vito Tomasello
Located in Wilton Manors, FL
Outstanding male portrait by 20th-century American artist, Vito Tomasello.
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Excellent condition. S...
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Portrait of Young Man
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Category
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$840 Sale Price
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Oliver Messel was born to Leonard and Maud Messel, née Sambourne, on the 13 January 1904 and was the youngest of three children. The family moved to Nymans, the Messel family home in Sussex, from nearby Balcombe in 1915. The house remained in the family until 1953 when it was bequeathed to the National Trust, following a fire in 1947 which destroyed a large portion of the house.
The Messels originated from a line of German Jewish bankers on Leonard’s side, however, both family lines boast a number of artistic influences, including Maud’s father. Maud was brought up at 18 Stafford Terrace, Kensington (now known as the Linley Sambourne House Museum), amongst collections of antique porcelain and eighteenth-century furniture, and with a host of artistic visitors such as Henry Irving and Oscar Wilde.
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Oliver was schooled at Eton but rather than going up to university was encouraged by family friends, gallery owner Archie Propert and painter and sculptor Glyn Philpot, to attend art school. In 1922 he enrolled at the Slade School of Fine Art in London, where he studied under Henry Tonks. Here, he met the artist Rex Whistler with whom he remained firm friends until Whistler’s death in WW2.
Upon leaving the Slade in 1924 Oliver was apprenticed to the studio of portrait artist John Wells, where he learnt various Old Master painting techniques, and met artists such as Jacob Epstein, Augustus John and William Orpen.
Whilst at the Slade Oliver developed his interest in Papier Mâché masks, a pastime popular amongst many art students at the time. Whilst apprenticed to artist John Wells several of Oliver’s masks were exhibited at the Claridge Gallery, London, alongside pieces by Whistler and other young artists. These were seen by Serge Diaghilev, director of the Ballet Russes, and Charles B. Cochran, a theatrical producer, both of whom made Oliver offers of work.
His first job in the theatre was creating masks for the Ballets Russes’ Zéphyr et Flore, 1925, designed by the French artist Georges Braque, followed by numerous musical revues for Cochran, including Wake Up and Dream!, 1929, with music by Cole Porter. It was during these revues, working with Porter and Noel Coward, that Oliver also began to design headdresses and costumes. In 1932 he was rewarded with his first full commission to design both costume and sets for Helen!, directed by Max Reinhardt. The production design is still celebrated today for its innovative approach and ground-breaking ‘white on white’ aesthetic, which referenced ‘Greek temples, Rococo drapes, Baroque colonnades and Louis XIV carousels’.
The success of Helen! led to further offers within the theatre including Reinhardt’s version of A Midsummer Night’s Dream at the Old Vic in 1937, starring Vivien Leigh as Titania and Robert Helpmann as Oberon, the Jean Cocteau play The Infernal Machine in 1940, and Christopher Fry’s translation of Jean Anouilh’s Ring Round the Moon, 1950.
One of Oliver’s best-known productions during this period was the Russian ballet The Sleeping Beauty, performed by Sadler’s Wells Ballet in 1946 at the Royal Opera House, Covent Garden. Encompassing over 200 costumes and four set changes, Oliver’s romantic designs were celebrated for bringing colour back to post-war London, and variations on his designs are still used today. Additional designs for the ballet included Comus in 1940, for which he was released from war duties, and Homage to the Queen, choreographed by Frederick Ashton and performed in 1953 for the Queen’s coronation.
His first opera was in 1940 for Mozart’s Die Zauberflöte at the Royal Opera House, followed by a series of productions at the newly founded Glyndebourne Opera House in Sussex, for which Oliver also designed the proscenium arch. He triumphed in 1956 designing a season of four different productions for their Mozart bicentennial, also providing illustrations for the programme covers.
His popularity also spread beyond theatre to film, were he worked on over eight different feature films including Romeo and Juliet, 1936, directed by George Cukor. During a three-month research trip to Italy Oliver collected over 3,000 reference images including postcards of artwork by Piero della Francesca, Giovanni Bellini and Leonardo da Vinci, along with prints and photographs of textiles and architectural features.
A production of Gabriel Pascal’s Caesar and Cleopatra, 1946, starring Vivien Leigh and Claude Rains, was celebrated for Oliver’s ability to recreate the opulence and luxury of ancient Egypt under the constraints of wartime rationing. Such was his skill that Vivien Leigh in a letter to Oliver declared that “I have of course told Pascal that nobody in the world must do the costumes except you.” He was later nominated for an Academy Award for his work on his final film Suddenly, Last Summer, 1959; an adaptation of Tennessee Williams’ American Southern Gothic mystery.
Having started his artistic career as a portrait apprentice, capturing the faces of family and friends, Oliver continued to develop this practice until the end of his life. His style is said to have been influenced by Glyn Philpot, the Messel’s family friend who encouraged Oliver from an early age in his pursuit of art and design. His most prolific period came in the 1950s during which he produced over 50 portraits, which were shown in exhibitions in New York, London and Barbados.
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