Born in Ireland, William Orpen studied in Dublin from 1892 to 1896 and went to London for further study at the Slade School of Fine Art in 1896. For the rest of his life, he lived and worked in London. There he received a number of honors, including membership in the New English Art Club, a governmental appointment as an official war artist during World War I, and a knighthood in 1918. He continued to work as a fashionable portrait painter during the 1920s, portraying wealthy and prestigious sitters in a traditional, highly polished style that rejected more recent developments in avant-garde art. He also produced a number of realistic self-portraits, both before and after the war, including Myself and Cupid (1910, Carnegie Institute, Pittsburgh) and Ready to Start (1917, Imperial War Museum, London).
This self-portrait, also known as Leading the Life in the West, refers to Orpen's life as a young artist in the West End of London. Orpen stands reflected full-length in a mirror in his studio, wearing a bowler hat and holding gloves and a riding crop. A shelf below the mirror holds paintbrushes and rags, the tools of the artist's trade, as well as several bottles of liquor. Various pieces of correspondence, including an I.O.U. signed by Orpen, are tucked behind the frame of the mirror, further testifying to the pleasures and distractions of the painter's early career. The space of the picture is shallow but complex, with Orpen using his skills as a draftsman to resolve the challenges of surface, lighting, and reflection that he has set for himself.
Due to rights restrictions, this image cannot be enlarged, viewed at full screen, or downloaded.
Use your arrow keys to navigate the tabs below, and your tab key to choose an item
[M. Knoedler & Co., New York, until 1914; sold on April 15, 1914 to Baker]; George F. Baker, New York (1914; his gift to MMA)
New York. M. Knoedler & Co. "Exhibition of Recent Works by William Orpen," March 23–April 4, 1914, no. 10 (as "Leading the Life in the West").
New York. Museum of Irish Art. "Memorial Exhibition of Paintings and Drawings by Sir William Orpen, 1878–1931," November 23, 1934–May 28, 1935, brochure no. 23 (as "Self Portrait 'Leading the Life in the West'").
New York. National Arts Club. "Exhibition of Paintings by Artists of the United Nations," February 4–March 1, 1942, no catalogue.
Columbus, Oh. Columbus Gallery of Fine Arts. "British Art 1890–1928," February 5–March 7, 1971, no. 72 (as "Leading the Life in the West").
New York. The Metropolitan Museum of Art. "Selection One: Twentieth-Century Art," February 1–April 30, 1985, no catalogue.
New York. The Metropolitan Museum of Art. "Looking At You," January 26–September 30, 2001, no catalogue.
London. Imperial War Museum. "William Orpen: Politics, Sex and Death," January 27–May 2, 2005, no. 27 (as "Leading the Life in the West").
Dublin. National Gallery of Art. "William Orpen: Politics, Sex and Death," June 1–August 28, 2005, no. 27.
B[ryson]. B[urroughs]. "Accessions and Notes." Metropolitan Museum of Art Bulletin 9 (May 1914), p. 130, ill. on front cover, calls it "Leading the Life in the West".
"What is Happening in the World of Art." Sun (March 29, 1914), section 8, p. 2, ill.
P. G. Konody and Sidney Dark. Sir William Orpen: Artist and Man. London, 1932, pp. 243, 268, call it "Leading the Life in the West" in the text and "Leading the Life in the West (Self-Portrait)" in the list of works.
John Russell. "New York's Next Modern Museum Is on the Way." New York Times (February 17, 1985), p. H33, ill.
John Russell. "Art: Unexpected Juxtapositions in the Met's New Wing." New York Times (January 21, 1987), p. C17.
Paul Richard. "Mixing It Up At the Metropolitan: Standards & Surprises at the Museum's New Wallace Wing." Washington Post (February 1, 1987), p. F8.
John Dorsey. "New Wing Lifts the Met Into the 20th Century." Sun (Baltimore, Md.) (February 1, 1987), p. 12K.
Sylvia Hochfield. "Thoroughly Modern Met." Art News 86 (February 1987), pp. 113–14.
Robert Upstone. William Orpen: Politics, Sex and Death. Exh. cat., Imperial War Museum. London, 2005, pp. 14, 16, 156, no. 27, ill. p. 95 (color).
Paloma Alarcó and Malcolm Warner, ed. The Mirror and the Mask: Portraiture in the Age of Picasso. Exh. cat., Museo Thyssen-Bornemisza, Madrid. Fort Worth, 2007, pp. 20–21, ill. (color).
The Met Collection API is where all makers, creators, researchers, and dreamers can connect to the most up-to-date data and public domain images for The Met collection. Open Access data and public domain images are available for unrestricted commercial and noncommercial use without permission or fee.
We continue to research and examine historical and cultural context for objects in The Met collection. If you have comments or questions about this object record, please complete and submit this form. The Museum looks forward to receiving your comments.