Fohren, Jean Louis. Self-portrait Hermitage ~ part 12

The drawing presents a portrait rendered in charcoal and pastel on paper. The subject is depicted from the chest up, turned slightly towards the viewer with a contemplative gaze directed upwards and beyond the frame. A dark mane of hair falls around his shoulders, obscuring much of the neck and upper torso. The face itself exhibits a certain severity; the brow is furrowed, and the mouth appears set in a neutral expression that hints at introspection or perhaps melancholy.
The artist employed a loose, gestural style, with charcoal strokes creating a sense of movement and texture within the hair and around the facial features. The shading is subtle but effective in defining form and volume, particularly noticeable in the modeling of the cheekbones and jawline. A soft halo-like effect surrounds the head, achieved through delicate pastel washes that soften the edges and contribute to an overall air of quiet dignity.
Below the portrait, a handwritten inscription appears. The text is penned in elegant cursive script, indicating it’s a dedication: à madame la Comtesse Tolstoy – Souvenir touché avec tendresse Forain Roanne 1900. This inscription provides crucial context; it reveals that the drawing was created as a memento for Countess Tolstoy and signed by “Forain,” with the location and date of creation noted. The phrase touché avec tendresse (touched with tenderness) suggests a personal connection between the artist and the recipient, adding another layer to the portrait’s interpretation.
The subtexts within this drawing are layered. Beyond the straightforward depiction of an individual, it conveys a sense of intellectual depth and perhaps even weariness. The dedication implies respect and affection for Countess Tolstoy, potentially hinting at shared artistic or philosophical interests. The year 1900 places the work firmly within the Belle Époque, a period marked by significant social and cultural change, which may have influenced the subject’s demeanor and the artists approach to portraying him. Ultimately, the drawing is not merely a likeness but an intimate record of a moment shared between two individuals, imbued with personal significance and artistic expression.