![]() By treating each figure in a similar fashion, Dumas sets up an informal relationship between the subjects that suggests an intimacy at odds with the original photographic source material. As with many of her paintings, she has eschewed any reference to the setting so that the focus is solely on the figure and her paint technique. ![]() In the painting of Wilde, also based on a nineteenth-century photograph, Dumas has used a limited palette, with bursts of yellow colour on Wilde’s gloves and green on his cravat. Bosie is wearing a yellow jacket and dark tie, and appears to both look at the viewer and over to his left so that, when hung to the left of the Oscar Wilde painting, he appears to be glancing at his lover. in 1893 of Douglas with Wilde, but has translated the monochrome tones of the photograph into a composition of pink and grey hues, with blue under-drawing appearing in sections across the canvas. Dumas has based her painting on a photograph taken by Gillman and Co. ![]() Lord Alfred Douglas (Bosie) is significantly smaller in size than Oscar Wilde (Tate T15179), but the heads of each subject are scaled similarly, with Bosie’s face occupying almost the entire frame of the painting. Lord Alfred Douglas (Bosie) is one of a pair of paintings by Marlene Dumas, both dated 2016, that separately depict the nineteenth-century writer and commentator Lord Alfred Douglas (1870–1945), also known as ‘Bosie’, and his lover, the writer, dramatist, poet and cultural figure Oscar Wilde (1854–1900).
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