Photography by Dwight Primiano
Interior/Before the Picture
William Rimmer was a man of many talents. He was a painter and a sculptor who taught anatomy to artists, practiced medicine, and wrote drawing manuals. His interest in science (and pseudo-science) might help explain the strangeness of this painting. Most of the room is hazy and soft, but the woman is strongly outlined and painted in more saturated colors. Rimmer erroneously believed that a person’s physical traits indicated their place in an evolutionary hierarchy. The dark line defining the woman’s profile accentuates her features, which conform to his ideals of the highest beauty.
ArtistWilliam Rimmer, 1816–1879
Date1872
MediumOil on board
Dimensions19 x 16 x 1 in. (48.3 x 40.6 x 2.5 cm)
Signedl.l., in red-brown paint: W. Rimmer [signed twice]
(The upper signature may have been added when the lower signature was damaged by a crack in the support.)
verso, on support, in pencil: Interior / W. Rimmer / 1872 / [illegible]
Credit LineCrystal Bridges Museum of American Art, Bentonville, Arkansas, 2006.78
ClassificationPainting
ProvenanceCaroline Hunt Rimmer (Artist's daughter); by descent to Edith Rimmer Durham Simonds (her niece) [d. 1935], Lexington, MA, 1918; Edward R. Morrill, Boston, MA; by descent to Samuel Morrill (his son); Clifford A. Kaye, Brookline, MA; (Robert W. Skinner, Boston, MA, May 21, 1981), lot 51; Private Collection; (Richard L. Feigen & Co., New York, NY); purchased by Crystal Bridges Museum of American Art, Bentonville, AR, 2006
On ViewNo
This artwork's face covers about 42× the area of a tennis ball.Drawn to the same scale.