РефератыИностранный языкUnUntitled Essay Research Paper Title of Paper

Untitled Essay Research Paper Title of Paper

Untitled Essay, Research Paper


Title of Paper : fricke collection


Grade Received on Report : B


The Fricke Collection


Lady Meux v. Frances Duncombe


Donated by the Fricke family is a collection housed on fifth avenue, ranging from sculptures and


paintings, to furniture of renowned artists. Paintings in particular, such as, Whistler’s, Lady Meux and


Gainsborough’s, Frances Duncombe, are classic examples of subtle yet provocative feminist portrayals. The


initial impact of these illustrations is a combination of the surface imagery and the abstract artistic message


conveying politics, religion or personal bias. Artist’s attention to detail on these portrait’s surface, captures


likeness but focuses setting through richness of color and poise into character personality. When


contrasting and comparing two paintings of distinct styles of select eras, conflicting perceptions are created.


Whistler’s, Lady Meux and Gainsborough’s Frances Duncombe both exhibit similar themes however were


dissimilar in character composure, panoramic setting, and mood representation.


In contrasting the portraits, confrontational and vulnerable personalities are clearly visible. These


separate presentations are outlined through Whistler’s Lady Meux’s determined expression and


Gainsborough’s Frances Duncombes subtle sidelong distracted look. Lady Meux exhibits simple


confidence and independence in her concrete and firm stance, as opposed to Duncombe’s fragile and


elegant unsteady footing. Gainsborough captures a complacent vulnerability perhaps suggesting


innocence. Whistler on the other hand, illustrates a more dramatic impact through the direct gaze of Lady


Meux’s expressive eyes which both dare and humble the viewer. Both artists, conveniently shape the


central figures by positioning them in creative scenery.


In each instance, the artist chooses a particular backdrop to heighten or diminish the central figure.


The scenery casts certain illusionistic differences that create the sensation of depth and solidarity. Lady


Meux commands attention as her profile encourages the viewer to step closer and absorb the scene


intimately. This portrait uses opaque colors of greys and pinks to bring out the subject’s features, however


the scope casts a dreariness about the piece. In Frances Duncombe, Gainsborough is careful in surrounding


her in an arboreal landscape, due to the size of the natural scene, the central figure is amplified. The


shadows in the piece engulf the regal subject, perhaps alluding to her place in society, as a solitary figure in


an ambiguous or precarious state. The obscured details of the trees, sunset, and faded classical architecture


seem to melt against Duncombe. The shadowed effect forces the viewer to step back a sufficient distance


to view the painting in it’!


s entirety. The artist purposely decreases Frances Duncombe’s features as if he intended to enhance the


details of her ornate costume instead of the subject herself.


In addition to the backdrop, the artist draws focus thru light and darkness to impress a mood. Both


pieces shroud each figure in obscure shadowy scenes but draw light from the model itself. Whistler, chose


colors such as grey, pink, and flat white, that downplays the heightened glow of her outfit. Gainsborough’s


piece illustrates ashen browns, olives, creams and azure blues in earthy tones to create a sense of mystery.


This portrait, unlike Whistler’s Lady Meux, uses light tones to capture Frances Duncombe’s milky white


flesh. This central figure is ghostly in complection as opposed to Whistler’s painting. Lady Meux appears


healthy in comparison, and shifts the mood by adding a slight pouty expression.


In short, these artists transcend our response into intense contrasting manipulations. Each piece


shares like and contrasting elements, either in Lady Meux’s well endowed form to Duncombes delicate


figure or the satin pink tresses to the satin teal folds of Duncombe’s costume. Both artists incorporate the


abstract as well as shadow and light that either enhances or detracts the femme fatale. On close


examination, each work exhibits calculated strokes that deliver a balanced arrangement of color variations.


The significance of the subject’s status quo, is hinted by each artist, however the possibilities for


interpretations are endless, be it the representation of female appreciation or contrasting inferior bias. In all


instances, the viewer takes with him a primal effect that will continue to last.

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