Analysis Of Her Mistress's Clothes By Harriet Cany Peale

I chose to write about L’Envouteuse (The Sorceress) by Georges Merle. Merle’s father was also a painter, and since Merle did not sign some of his early work it was often confused to be done by his dad. George himself was known by his talent of painting the body form of women. Merle painted this during the time of 1883. This painting is 57 ½ inches x 45 inches making this a fairly large piece. When painting this he used oil on canvas. I found L’Envouteuse (The Sorceress) while I was browsing through The Birmingham Museum of Art. Above all pieces of art I saw in the museum, this painting seemed to be the most captivating. As soon as I laid eyes on it my attention was immediately taken by this mysterious piece of art. I grabbed a stool and began writing down my observations. Looking at this painting on paper cannot even compare to actually seeing it in person. Pictures I have seen online of L’Envouteuse (The Sorceress) do not justify the great detail and vigorous colors that are more easily seen while actually standing in front of the painting.

She explains how this can be done by seeing black females as real valid people and treating them as such. In life we must stop objectifying the black female body before we can see any change within art. By understanding the black female as a legitimate individual with purpose, one can then accurately portray her within art, and create a more subjective authentic representation of the black female body. These beleifs presented by Lorraine O’Grady could be applied to the famous art piece The Moorish Bath, by Jean-Léon Gérôme, in how he depicts the black female body. Instead of having the black female in the background surrounded by darker colors and lighting, while the white female is in the brighter lighting, allow them both to be in the same brighter more focused lighting. Also the role of the black female should be reexamined in that she is serving the white female and bathing her. A more progressive version could be both the females bathing themselves making them both the main subjects, instead of objectifying the black body as one that only serves. Another aspect that should be addressed is the fact that the white female is fully naked while the black

Harriet Jacobs wrote, “Incidents in the Life of a Slave Girl” using the pseudonym Linda Brent, and is among the most well-read female slave narratives in American history. Jacobs faces challenges as both a slave and as a mother. She was exposed to discrimination in numerous fronts including race, gender, and intelligence. Jacobs also appeals to the audience about the sexual harassment and abuse she encountered as well as her escape. Her story also presents the effectiveness of her spirit through fighting racism and showing the importance of women in the community.

The most influential artist to me in this exemplary in this pursuit for the appropriated traditions is Kehinde Wiley. In his opening speech for the New Republic gallery show he expressed that things such as his work was evolved around the working of chance . In his case, he manipulates the chance of the representation of the black demographic in traditional work. Modifying the figurative works to create the chance for relating a body that is familiar. I see contemporary painter, Kehinde Wiley as a comparable to my work in regards to the topic as well as the manipulation of the human figure. The admirable features I see in Kehinde Wiley’s work in addition to these is the fantasy elements that are incorporated. These features are best exhibited in his piece, “Bound”. The work is a bronze sculpture that stands approximately four feet tall and two-and half feet wide. The composition is inviting as it includes busts of three identical women that have African descent features that are placed on a rounded triangle base. The expressions on all of the faces are of a staring and wondering nature that have a nature of regality as their faces are turned to the right at an approximate forty five degree angle as their all have their back facing each other to form a guard of the leaves the a laid on their base. The bodies are cut organically as it rounds off from shoulder to shoulder, just enough to form the upper torso to see the corset like dress that encompass the figure. Expanding

The woman painted is sitting in what seems to be a domestic setting. However, unlike many other painted black women in the Enlightenment, she is seated alone. She is not depicted serving a white woman or doing any labour. The white cloths wrapped around her head and body along with the light background creates a dramatic contrast between the light colours and her dark skin. Her breast is exposed, but she is not sexualized like in many paintings of white women of the period. Despite her less-than-modest exposure, the woman does not show any signs of embarrassment. She is not blushing and her gaze is fixed on the viewer in neither a demure nor passionate way. In fact, she seems nonchalant about her exposure.

Once Jacobs original mistress passed away, she was sold to a manipulative and lustful master. Forty years her senior, Dr. Flint, began to manipulate her at the age of fifteen “ But I now entered on my fifteenth year—a sad epoch in the life of a slave girl. My master began to whisper foul words in my ear (chapter V).” The manipulation not only troubled her, but her mistress became jealous and full of hatred over fourteen year old Jacobs. This caused tension between the mistress, Dr. Flint and Jacobs. Jacobs directed to the audience that beauty is an asset to those who are not slaves, but an immense disadvantage to slaves. Jacobs understood that she is able to induce the jealousy and anger of Mrs. Flint, “She will be compelled to realize that she is no longer a child. If God has bestowed beauty upon her, it will prove her greatest curse. That which commands admiration in the white woman only hastens the degradation of the female slave (chapter V).” Although, Mrs. Flint was aware of the manipulation, Mrs.Flint could not control her husband’s behavior towards Jacobs. Thus, leading Mrs. Flint to take her jealousy and rage onto Jacobs. Even though Mrs.Flint understood that Jacobs was not in control of the situation, Mr. Flint was. “I was an object of her jealousy, and, consequently, of her hatred; and I knew I could not expect kindness or confidence from her under the circumstances in which I

The main subject in this portrait are the slaves that are in chains.The facial expressions of the slaves are subdued and defeated. The only lookers of the slaves have very nice clothes and the slaves are in rags. This portrait takes place in an outdoor setting and the slaves appear to be walking through a field in order to be sold. One of the onlookers are laughing and another one of the onlookers is clutching a baby in her arms. Jacob Lawrence is showing the

In the painting, Virginian Luxuries (Unknown, 1800), it is possible to observe and describe the roles of those two man races in America of the time. First of all, the painting is related to the time of slavery (1619-1865) and the unequally of positions between the Negros and whites. Second, we can appreciate the gender role. For instance, the Black men who worked in crop fields is being used and deprived of his human rights by the land owner. In the case of the woman, as an object she is used as well to satisfying her owner. Finally, we can observed that the unknown painter detailed the whites’ men face very well, yet the black men and woman’s face appears faceless or without identification. This a representation of the European view towards Negros as a uniform object or animal.

White explores the master’s sexual exploitation of their female slaves, and proves this method of oppression to be the defining factor of what sets the female slaves apart from their male counterparts. Citing former slaves White writes, “Christopher Nichols, an escaped slave living in Canada, remembered how his master laid a woman on a bench, threw her clothes over her head, and whipped her. The whipping of a thirteen-year-old Georgia slave girl also had sexual overtones. The girl was put on all fours ‘sometimes her head down, and sometimes up’ and beaten until froth ran from her mouth (33).” The girl’s forced bodily position as well as her total helplessness to stop her master’s torture blatantly reveals the forced sexual trauma many African females endured.

Harriet Jacobs book tells us a lot about gender and race, and the issues faced in the U.S. South during the 19th century. In the lifetime of slaves within the south, daily routines very much banked on the slaves gender. Male slaves were known to work out doors doing more physical labor compared to women who were known to be caretakers and do small petty things. Family life for slaves in the south was not easy due to the fact that they were constantly taken away from each other. Marriages in the South were also difficult for slaves and for slaveholders. In Harriet Jacobs’ book Incidents in the Life of a Slave Girl Jacobs gives clear descriptions of the conceptions of masculinity and femininity between slaves, their family life, and of love/marriage

Concerning color, there is a stark contrast between the figure on the painting and the background. More specifically, the figure of the woman is predominantly delineated in white color, especially pale, ashen white, as far her apparel and facial complexion are concerned, while there are also various hues of grey, with respect to her hair and accessory feather. These white and grey shades are vividly contrasted with the prevailing red and crimson hues of the background (viz. the drape, armchair, and table). Moreover, one can detect colors of dark green (jewelry), some beige on the left (pillar), and darker or lighter shades of blue on the right side of the canvas (sky), which all in concert and in addition to the subtle purple hue forming the sun or moon exude a certain dramatic sentiment. Also, there is brown, which often easily segues into gold (viz. books and attire details respectively). The main contrast of colors between white and red would be interpreted as serving the purpose of rendering the figure of the woman, and especially her face, the focal point of the work, despite, paradoxically enough, the lush red shades at the background. Bearing that in mind, the significance of the woman’s face will be enlarged upon later, when discussing aspects of her identity.

The art and beauty in this painting is exemplified through the eyes of Boucher. It starts with a beautiful couple taking a rest after picking up some followers. Their clothing looks very elegant and colorful which shows that they are aristocrats. The man’s eyes are gazing at a shepherdess who gathered her own flowers. Their eyes are locked despite the man having his own woman right in front of him. The light brushstrokes of the dresses, flowers, and trees

This painting that inspired me both visually and intellectually is of an upper class household. In the 19th century the demand for household servants was on the rise. Paintings that showed the interior of upper class homes were also becoming more popular. In these paintings the servants were depicted as beautiful women who functioned with their mistress. We can see this in the painting by Lippincott. In the piece we see a lavish dining room with elegant furniture and rich colors. On the right we see the servant in a traditional outfit standing strong with the children and the mistress.

It is interesting because at first glance the painting seems to be promoting the objectification of women for the sake of male pleasure. However, Gerome’s paintings of the slave market scenes were the center of many controversies because they challenged the very persisting male dominated conventions of his time. It contaminated the hypocritical thinking that in art, we could view a woman’s body solely through a pure, aesthetic angle. Male artists during the nineteenth-century typically illustrated women as objects that wanted to be seen or consumed. However, these slave market scenes forced male viewers to confront the cruel and wicked nature that follows through with the objectifying of women.

The portrait is displayed horizontally with a gold trimmed frame. The subject is a female that looks to be in her early 20’s sitting upright on a large brown chair. If the viewer travels up the painting the first indication of the woman’s class is her satin, blue dress. The saturated blue shines and falls in the light like water. Paired with the dress are her exceptionally detailed endings to her sleeves. The lace is even painted as though it is translucent, allowing a little of the blue dress to show through the sleeve. Flowers throughout history have symbolized innocence of a woman and her virginity. The repeating theme of flowers, in the sleeve cuffs and ribbon) in the woman’s attired suggests her purity or innocent nature. Another very details section of the painting includes the corset/torso details. The sewing suggests texture in the torso with small beading in between. Towards the top of the chest in the center, the female seems to bear an extravagant, ribbon piece with a tear drop bead in the center. The light pink