![\"beard1.jpg\"](\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2008\/05\/beard1.jpg\")
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The Fencing Team by Bruce Sargeant. <\/em><\/p>\n Artists in the 20th century used to be multifarious in their activities, often taking their work through different stages or periods of evolution; Picasso and Max Ernst are two good examples of this. In today’s inflated art market this is no longer a wise move. As Brian Eno has noted in the case of the polymathic Tom Phillips<\/a>, the pressure is there to establish yourself as a person who does one thing only, to turn yourself into a brand.<\/p>\n American artist Mark Beard<\/a> isn’t happy with that situation. In order to satisfy a desire to create in whatever styles he chooses, he’s developed a number of distinct artist personalities, each with their own detailed biographies and even photographs (below). This isn’t entirely unprecedented, Marcel Duchamp famously had a female alter-ego named Rrose S\u00e9lavy<\/a>, and was photographed by Man Ray in feminine attire, but offhand I can’t think of another artist going as far as creating six distinct personas. The painting above is one of a homoerotic sports-themed series by artist Bruce Sargeant who died, we’re told, in 1938 as a result of a wrestling accident. Examples of Beard’s other influences follow. For the complete artist biographies, see the Mark Beard pages at the Carrie Haddad<\/a> gallery.<\/p>\n The artists<\/strong><\/p>\n top left: Mark Beard (b. 1956); right: Bruce Sargeant and model (1898-1938) Their works<\/strong><\/p>\n Ideology: The Politically Correct Disdain the Frivolous by Mark Beard (1989). <\/em><\/p>\n Avant la Fuite by Hippolyte-Alexandre Michallon (1894).<\/em><\/p>\n Swimmer Drying Himself, Berlin Olympics (1936), Young Athlete by Bruce Sargeant.<\/em><\/p>\n On the Strand by Edith Thayer Cromwell.<\/em><\/p>\n Das Krakenhaus by Brechtolt Steeruwitz (At the Hospital) (1923).<\/em><\/p>\n Cabinet by Peter Coulter.<\/em><\/p>\n Elsewhere on { feuilleton } The Fencing Team by Bruce Sargeant. Artists in the 20th century used to be multifarious in their activities, often taking their work through different stages or periods of evolution; Picasso and Max Ernst are two good examples of this. In today’s inflated art market this is no longer a wise move. As Brian Eno has … Continue reading “Mark Beard’s artistic circle”<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[2,5,44,41],"tags":[145,241,1200,1872,112,165,164],"class_list":["post-3156","post","type-post","status-publish","format-standard","hentry","category-art","category-gay","category-painting","category-sculpture","tag-brian-eno","tag-man-ray","tag-marcel-duchamp","tag-mark-beard","tag-max-ernst","tag-picasso","tag-tom-phillips"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-OU","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/3156","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/comments?post=3156"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/3156\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=3156"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=3156"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=3156"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}![\"beard2.jpg\"](\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2008\/05\/beard2.jpg\")
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\nmiddle left: Hippolyte-Alexandre Michallon (1849-1930); right: Brechtolt Steeruwitz (1890-1973)
\nbottom left: Edith Thayer Cromwell (1993-1962); right: Peter Coulter (b. 1948) <\/em><\/p>\n![\"beard3.jpg\"](\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2008\/05\/beard3.jpg\")
<\/p>\n![\"beard4.jpg\"](\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2008\/05\/beard4.jpg\")
<\/p>\n![\"beard5.jpg\"](\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2008\/05\/beard5.jpg\")
<\/p>\n![\"beard6.jpg\"](\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2008\/05\/beard6.jpg\")
<\/p>\n![\"beard7.jpg\"](\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2008\/05\/beard7.jpg\")
<\/p>\n![\"beard8.jpg\"](\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2008\/05\/beard8.jpg\")
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\n\u2022 The gay artists archive<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"