费奥多尔·索伦采夫(Paul Kane)高清作品《Portrait of John Henry Lefroy》

作品名：Portrait of John Henry Lefroy

艺术家：费奥多尔·索伦采夫

年代：1846

风格：浪漫主义

类型：肖像

《西北画像》中John Henry Lefroy的场景在凯恩的作品中独树一帜，因为它涵盖了肖像画和风景画，凯恩的两个重要流派。这幅照片描绘了1841至1853年间多伦多磁天文台的导演John Henry Lefroy，他在1843—44年间在阿萨巴斯卡湖过冬，成功地搜索了磁北极。在他的自传中，勒弗罗伊提到他是如何装备一个“厚白色的拖鞋，镶着红色的帽子，蓝色的帽子”，另一个是灰色的为他的同伴下士亨利装备。勒弗罗伊还提到了三只狗组（PAPILIN，MILROD和Cartouche），他在1844年3月把他送回麦肯齐河，并形容他们有铃铛和红领。只有勒夫罗伊才知道这幅画中出现的细节，这表明他为肖像画的基本组成部分指明了凯恩的艺术方向，而凯恩在北方风景画中描绘的勒夫罗伊是科学家对他成就的个人纪念。这幅画像是在1845年12月至1846年4月间画的，让我们看到了凯恩是如何利用他的客户关系来促进他的事业的。1843年，勒弗洛伊征得哈德逊湾公司总裁乔治·辛普森爵士的同意，要求他自己徒步到西北部。1846年初，Lefroy又会代表Kane给Simpson写一封支持信，要求给予他同样的特权。1847年，这幅肖像画首次在多伦多艺术协会展出时，它的标题“西北风景-肖像”主要关注于现场，而不是人物的身份。这幅画以“白人”作为加拿大西北部的探险家，展示了凯恩当时所扮演的角色。

Title:Portrait of John Henry Lefroy

artist:Paul Kane

Date:1846

Style:Romanticism

Genre:portrait

Scene in the Northwest—Portrait of John Henry Lefroy is unique in Kane’s oeuvre in that it embraces portraiture and landscape equally, both key genres for Kane. The scene depicts John Henry Lefroy, director of the Toronto Magnetic Observatory from 1841 to 1853, who wintered at Lake Athabasca during 1843–44 in his successful search for the magnetic north. In his autobiography Lefroy mentions how he was equipped for the winter with a “warm capote of thick white duffle, trimmed with red, and a blue hood,” and another in grey for his companion Corporal Henry. Lefroy also mentions by name the three-dog team (Papillon, Milord, and Cartouche) that returned him to the Mackenzie River in March 1844 and describes them as having bells and red collars. Only Lefroy would have known the details that appear in this painting, suggesting that he gave Kane art direction for the essential components of the portrait and that Kane’s painting of Lefroy in a northern landscape was the scientist’s personal commemoration of his achievement. This portrait, likely painted sometime between December 1845 and April 1846, gives us a glimpse of how Kane may have used his client connections to advance his career. In 1843 Lefroy had solicited approval from Sir George Simpson, governor of the Hudson’s Bay Company, for his own trek into the Northwest. In early 1846 Lefroy would in turn write a letter of support to Simpson on Kane’s behalf for the artist’s request for the same privilege. When the portrait was first exhibited in 1847 at the Toronto Society of Arts, its title, “Scene in the Northwest—Portrait,” focused on the locale rather than the identity of the person. Featuring the “white man” as explorer in Canada’s Northwest, the painting showcases a role that Kane was undertaking at that very moment.