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Untitled (BC-151)

William Henry Broome

Date

n.d.

Dimensions

8 × 10 in.

Credit

© Broome Collection Inc. · © Broome Holding LLC — Property of the William Henry Broome Collection. This artwork forms part of a privately held archival collection. Unauthorized reproduction, publication, photography, digitization, AI training, licensing, or commercial use is strictly prohibited. All rights reserved by Broome Holding LLC and affiliated entities.

Curator’s reflection

Viewed together, BC-148 and BC-151 become one of the most psychologically revealing pairings within the Broome Collection. In both works, William Henry Broome transforms an intimate article of clothing into an unexpected mask, replacing conventional ideas of portraiture with an image that is simultaneously vulnerable, unsettling, and deeply symbolic.

At first glance, the paintings invite curiosity because of their unusual subject matter. Yet the longer one looks, the less these works appear to concern clothing and the more they become studies of identity itself. The fabric conceals much of the artist's face while leaving only a single eye visible-a recurring visual device that suggests observation without full exposure. Broome appears to ask whether a person can reveal themselves precisely by hiding behind something else.

The contrasting colors reinforce this dialogue. In BC-148, the vivid green background and pink fabric create a heightened sense of tension and theatricality, while BC-151's softer palette introduces a quieter, more contemplative mood. Though nearly identical in composition, the emotional atmosphere of each painting is markedly different, suggesting that Broome was experimenting not with costume, but with

Within the larger collection, Broome repeatedly challenged conventional ideas of masculinity, self-image, and personal identity. These paintings continue that exploration with remarkable honesty. Objects commonly associated with privacy become vehicles for public self-examination, dissolving the boundary between what society expects us to conceal and what the artist chooses to reveal.

Rather than inviting voyeurism, these portraits invite empathy. They remind us that identity is rarely fixed or singular. It is layered, protected, vulnerable, and constantly negotiated between the individual and the world around them.

Looking closer

The underwear functions visually much like a theatrical mask. By covering most of the face while exposing only one eye, Broome shifts attention away from physical appearance and toward psychological presence. The eye becomes the emotional center of each composition, maintaining direct engagement with the viewer despite the concealment. Seen within the broader context of the Broome Collection, these paintings suggest recurring questions that occupy much of the artist's work: Who am I when expectations are removed? What parts of myself remain hidden? Which identities do I choose, and which are imposed upon me?
Broome often used masks, disguises, and substituted objects to explore the conflict between external identity and internal truth. These works reflect a mindset that is experimental, provocative, and unflinchingly honest. He challenges the viewer to look beyond surface shock and recognize the deeper inquiry: the search for authenticity in a world that pressures conformity. The use of such an intimate garment may be read as a symbolic reclamation of something hidden turning an object of privacy into a declaration of self-awareness.

A moment to reflect

We all wear something that the world cannot see. The question is not what we hide, but what we hope to become. He left more than paintings. He left a life painted in brushstrokes.