Two decades after premiering his most scandalous painting, Madame X, John Singer Sargent unveiled a portrait of another woman known for her unworldly beauty and charm – Lady Helen Vincent, Viscountess D’Abernon.
Though he stands in the shadows, Mr. I. N. Phelps Stokes’ suit sheds light on significant developments occurring in menswear at the end of the nineteenth century.
Lady Meux relied on Whistler’s careful hand and international regard when crafting a new image for herself as an elegant woman who belonged to the elite class into which she had recently married.
The Genoese Noblewoman (1625-1627) painted by Anthony Van Dyck reflects dress trends of the early 17th century, particularly in the region of Genoa, such as rich silks ornamented with metallic lace, starched ruffs and the deep “V” shaped bodice.
Deciphering Jan Jansz Mostaert’s Portrait of an African Man reveals the presence of Black bodies within European court circles and hints at their position within them.
Arthur Devis’s 1747 portrait of Mr. and Mrs. Bull seems to depict a quite fashionable couple in the year of their marriage in what we presume to be their home. But closer analysis reveals that much of the work is likely a fiction, though the clothes they’re sporting–whether their own or imagined–remain fashionable.
Joseph Siffred Duplessis’s 1778 portrait of Benjamin Franklin participates in his carefully constructed image while in France as a plainly dressed American with provincial taste–though he actually dressed in the most expensive fabrics available.
William Merritt Chase captures the style and youth of his art student, Mariette Benedict Cotton, in this portrait. She wears a black day dress made in the traditional bustle silhouette of the period with puffed sleeves that were rising in popularity at the time. Chase’s use of light adds depth to the piece, emphasizing folds in the fabric and the glittering of Cotton’s eyes and jewelry.
Faustina appears to be the ideal woman of 1899 as her dress includes all of the most fashionable evening wear details, like short puffed sleeves, lace details, and a curvaceous silhouette. She embodies beauty and grace as the artist captures her during a private moment of reflection in her extravagant home.
Pompeo Batoni became the premiere portraitist for 18th-century English, Irish and Scottish gentlemen during their visit to Rome on the Grand Tour, as seen in this portrait of an unknown young man.
A highly successful artist in Amsterdam, Ferdinand Bol, much like Rembrandt, became known for the detailed characterization of his sitters–in particular his portraits of women. As is typical of a betrothal portraits, this image displays the sitter’s wealth through her lavish textiles and jewelry.
William Hogarth, though known for satire, was often commissioned for portraits and conversation pieces. The Wedding of Stephen Beckingham and Mary Cox was one of his larger portraits, featuring an intimate wedding and contemporary clothing of the time.
- 1840 – Queen Victoria’s Wedding DressIn 1840-1849, 19th century, garment analysis
- 1872 – Emile Pingat, Visiting DressIn 1870-1879, 19th century, garment analysis
- 1904 – John Singer Sargent, Lady Helen Vincent, Viscountess D’AbernonIn 1900-1909, 20th century, artwork analysis
- 1878 – James Tissot, EveningIn 1870-1879, 19th century, artwork analysis
- clocks/clockingIn 17th century, 18th century, 19th century, C, term definition