Stravinsky, Igor. (1882–1971) [Fruhauf, Aline. (1907–1978)]. Signed Portrait Caricature. Photolithograph caricature of the composer, with pencil retouching by hand and signed in pencil by the artist, Aline Fruhauf. 8.75 x 6 inches, matted to slightly larger. The paper toned and laid down onto board, the matt also apparently affixed to the larger sheet.
Georgetown University maintains an archive of Fruhauf's caricatures. She had two encounters with Stravinsky, both at press conferences. The first meeting in New York resulted in a brush drawing published in Musical America in 1934. The second occasion was when he came to Washington to conduct his first opera, Le Rossignol, in 1960. This photolithograph was based on the earlier, published drawing. Fruhauf vividly recalled her first impression of Stravinsky: "He was a small man with broad shoulders, a slim waist, and a propulsive profile. At first his long, ovoid head suggested an Aztec carving; then it became a blanched almond. At the first meeting, Stravinsky's hair was beautifully groomed, I was sure, with a pair of military brushes. He was well turned out in gray flannels, a chocolate-brown cardigan, a dray striped shirt with a white collar, and a brown foulard tie with copper dots. And his image was punctuated by a large onyx ring on his right hand, pointed black shoes, and a cigarette in a long, black holder." ("Making Faces", ed. Erwin Vollmer; Cabin John, Maryland: Seven Locks Press, 1987).
Georgetown University maintains an archive of Fruhauf's caricatures. She had two encounters with Stravinsky, both at press conferences. The first meeting in New York resulted in a brush drawing published in Musical America in 1934. The second occasion was when he came to Washington to conduct his first opera, Le Rossignol, in 1960. This photolithograph was based on the earlier, published drawing. Fruhauf vividly recalled her first impression of Stravinsky: "He was a small man with broad shoulders, a slim waist, and a propulsive profile. At first his long, ovoid head suggested an Aztec carving; then it became a blanched almond. At the first meeting, Stravinsky's hair was beautifully groomed, I was sure, with a pair of military brushes. He was well turned out in gray flannels, a chocolate-brown cardigan, a dray striped shirt with a white collar, and a brown foulard tie with copper dots. And his image was punctuated by a large onyx ring on his right hand, pointed black shoes, and a cigarette in a long, black holder." ("Making Faces", ed. Erwin Vollmer; Cabin John, Maryland: Seven Locks Press, 1987).
Stravinsky, Igor. (1882–1971) [Fruhauf, Aline. (1907–1978)]. Signed Portrait Caricature. Photolithograph caricature of the composer, with pencil retouching by hand and signed in pencil by the artist, Aline Fruhauf. 8.75 x 6 inches, matted to slightly larger. The paper toned and laid down onto board, the matt also apparently affixed to the larger sheet.
Georgetown University maintains an archive of Fruhauf's caricatures. She had two encounters with Stravinsky, both at press conferences. The first meeting in New York resulted in a brush drawing published in Musical America in 1934. The second occasion was when he came to Washington to conduct his first opera, Le Rossignol, in 1960. This photolithograph was based on the earlier, published drawing. Fruhauf vividly recalled her first impression of Stravinsky: "He was a small man with broad shoulders, a slim waist, and a propulsive profile. At first his long, ovoid head suggested an Aztec carving; then it became a blanched almond. At the first meeting, Stravinsky's hair was beautifully groomed, I was sure, with a pair of military brushes. He was well turned out in gray flannels, a chocolate-brown cardigan, a dray striped shirt with a white collar, and a brown foulard tie with copper dots. And his image was punctuated by a large onyx ring on his right hand, pointed black shoes, and a cigarette in a long, black holder." ("Making Faces", ed. Erwin Vollmer; Cabin John, Maryland: Seven Locks Press, 1987).
Georgetown University maintains an archive of Fruhauf's caricatures. She had two encounters with Stravinsky, both at press conferences. The first meeting in New York resulted in a brush drawing published in Musical America in 1934. The second occasion was when he came to Washington to conduct his first opera, Le Rossignol, in 1960. This photolithograph was based on the earlier, published drawing. Fruhauf vividly recalled her first impression of Stravinsky: "He was a small man with broad shoulders, a slim waist, and a propulsive profile. At first his long, ovoid head suggested an Aztec carving; then it became a blanched almond. At the first meeting, Stravinsky's hair was beautifully groomed, I was sure, with a pair of military brushes. He was well turned out in gray flannels, a chocolate-brown cardigan, a dray striped shirt with a white collar, and a brown foulard tie with copper dots. And his image was punctuated by a large onyx ring on his right hand, pointed black shoes, and a cigarette in a long, black holder." ("Making Faces", ed. Erwin Vollmer; Cabin John, Maryland: Seven Locks Press, 1987).