Past Exhibition

In Memoriam, Ailsa Mellon Bruce

Shown from the knees up, a pale-skinned woman sits and leans on the arm of a seat in this vertical portrait painting. The woman’s knees and shoulders are angled to our right but she turns her head slightly to our left so she looks out at us from the corners of her green, wide-set eyes. She has an oval face with a short nose, full pink lips, and a cleft in her chin. Her brown hair is set in loose finger waves and is either chin-length or pulled back. Her sleeveless, scoop-necked, ivory-white gown has spaghetti straps edged with gold. A sheen on the fabric suggests that it shimmers between white, mauve pink, and gold, and gold tracery around her hips mimics the look of a drop-waist over a long, flaring skirt. A rose-pink shawl drapes over her left arm, to our right, which rests on the arm of her seat. A long strand of pearls is looped twice around that wrist like a bracelet as the other end is pulled over her fingers, which she holds in front of her chest. Her other arm, to our left, is stretched straight by her side, and she wears a ring on that hand. The seat has an arched back and is painted with streaks of gold and tan. A darkened opening behind her is shaded midnight blue. Gold frames or molding flank the opening along the left and right edges of the canvas. The portrait is loosely painted, especially in her clothing and the background. The artist signed and dated the bottom right corner, “de Lászlo 1626. III.”
Philip Alexius de László, Ailsa Mellon Bruce, 1926, oil on canvas, Ailsa Mellon Bruce Collection, 1970.20.1

Details

  • Dates

    -

  • Locations

    Main Floor, Galleries 60A, 60B, 62 (2,500 sq. ft.)
Shown from the knees up, a pale-skinned woman sits and leans on the arm of a seat in this vertical portrait painting. The woman’s knees and shoulders are angled to our right but she turns her head slightly to our left so she looks out at us from the corners of her green, wide-set eyes. She has an oval face with a short nose, full pink lips, and a cleft in her chin. Her brown hair is set in loose finger waves and is either chin-length or pulled back. Her sleeveless, scoop-necked, ivory-white gown has spaghetti straps edged with gold. A sheen on the fabric suggests that it shimmers between white, mauve pink, and gold, and gold tracery around her hips mimics the look of a drop-waist over a long, flaring skirt. A rose-pink shawl drapes over her left arm, to our right, which rests on the arm of her seat. A long strand of pearls is looped twice around that wrist like a bracelet as the other end is pulled over her fingers, which she holds in front of her chest. Her other arm, to our left, is stretched straight by her side, and she wears a ring on that hand. The seat has an arched back and is painted with streaks of gold and tan. A darkened opening behind her is shaded midnight blue. Gold frames or molding flank the opening along the left and right edges of the canvas. The portrait is loosely painted, especially in her clothing and the background. The artist signed and dated the bottom right corner, “de Lászlo 1626. III.”
Philip Alexius de László, Ailsa Mellon Bruce, 1926, oil on canvas, Ailsa Mellon Bruce Collection, 1970.20.1

Overview: This memorial exhibition featured paintings, sculpture, and drawings purchased for the Gallery with funds provided by Ailsa Mellon Bruce. The daughter of the founder Andrew W. Mellon had died on August 25. 3 rooms off the East Garden Court were hung with 50 works, assembled within 4 days from all parts of the building.

Guide sheet: Ailsa Mellon Bruce: A Memorial Exhibition

Attendance: 70,797

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