Exciting news: The Museum of the City of New York recently posted a great blog article about one of their on-going exhibitions titled the STETTHEIMER DOLLHOUSE and WAAM was mentioned referring to a piece in our permanent collection – Louis Bouché’s Mama’s Boy
Louis Bouché (1896–1969). Mama’s Boy, c. 1920. Oil on Canvas. Gift of the estate of Jane Bouché. Woodstock Artists Association & Museum
Written by curator of Paintings and Sculpture Bruce Weber:
…. This spring I discovered Louis Bouché’s oil painting Mama’s Boy in an exhibition at the Woodstock Artists Association and Museum in Woodstock, New York, and recognized this recent addition to their collection as the source for the artist’s miniature version in the famous art gallery of Carrie Stettheimer’s dollhouse in the collection of the Museum of the City of New York. The experience inspired me to look into the background of the painting and Bouche’s relationship with the Stettheimer sisters. This long narrow canvas of a child gazing from between layers of lace curtains is one of the artist’s so-called Nottingham lace curtain paintings. Nottingham lace is a form of machine woven bobbin lace that was developed in England during the course of the 1840s. In his unpublished autobiography, Bouché explained that the lace curtains that he pictured in this series were an attempt to glorify bad Victorian taste.
Campy and smart-alecky works such as Mama’s Boy led Bouché to be referred to as the “bad boy of American art” by the writer and photographer Carl Van Vechten, who, along with Bouché, was an attendee of the Stettheimer’s famous New York salon. Bouché himself was something of a “mama’s boy.”
Read the full story HERE