Where can I see Vanity Fair: Statesman, No. 57 "A man of Fashion and Politics"?

Vanity Fair: Statesman, No. 57 "A man of Fashion and Politics" is held by Cleveland Museum of Art.

What movement is Vanity Fair: Statesman, No. 57 "A man of Fashion and Politics"?

Vanity Fair: Statesman, No. 57 "A man of Fashion and Politics" is associated with Impressionism.

Artwork

Vanity Fair: Statesman, No. 57 "A man of Fashion and Politics"

Vanity Fair: Statesman, No. 57 "A man of Fashion and Politics" is a print by the Impressionist artist Carlo (Ape) Pellegrini. It dates from 1870 and is held in the collection of the Cleveland Museum of Art. Carlo Pellegrini’s 1870 print, titled Vanity Fair: Statesman, No.

About this work

Overview

Carlo Pellegrini’s 1870 print, titled Vanity Fair: Statesman, No. 57, “A man of Fashion and Politics,” is part of the Cleveland Museum of Art’s collection. The work presents a single figure rendered in a stark black suit with a crisp white shirt, a decorative white flower on the lapel, and a solitary white glove held in the right hand.

Subject & Meaning

The sitter, a moustachioed gentleman with curled hair, stands with his torso turned left while his head looks to the right, suggesting a poised, perhaps diplomatic, demeanor. The combination of refined attire and the title implies an association with both sartorial elegance and political influence, reflecting the dual roles of public figures in the late‑Victorian era.

Technique & Style

Pellegrini employs strong chiaroscuro, using contrasts of light and shadow to model the figure’s form and give the composition a three‑dimensional quality. The print’s crisp lines and careful rendering of textures—such as the sheen of the glove and the fabric of the suit—highlight the artist’s skill in balancing detail with the flatness inherent to the medium.

History & Provenance

Created in 1870, the print entered the Cleveland Museum of Art’s holdings as part of its 20th‑century acquisitions of European graphic works. Its presence in the museum’s collection provides insight into the period’s popular portraiture and the circulation of Vanity Fair illustrations, which were widely disseminated in England and abroad.