Reflection of individuality and social morality - women portraits in 18th-century Europe
The 18th century was a time of rapid social transformation in Europe. Art, as the predominant medium of information, was largely influenced by the turbulence in political structure and the spread of new ideas. Portraiture was one of the most popular forms of art due to its power in capturing the essence of individuals. Meanwhile, the flourishing new belief in liberty brought more women- the historically underrepresented group - onto the canvas as the subject being depicted and gave them more opportunities to step onto the historical stages built by art.
In this thematic exhibition composed of five women portraits created in 18th century Europe, audiences are invited to take on the magic carpet and travel through the time tunnel to experience the individuality of five women each from different backgrounds, and how they each reflect the ideals of their distinct societal roles. The five artists’ masterful skills in consolidating a larger social image onto the canvas allow the viewers to discern the intricate dance between individual autonomy and the collective moral consciousness at the time. The portraits are created with diverse intentions which creates different dynamic relationships between the artists, the viewers, and the subjects being portrayed. Though differ in mediums, scales, and styles, they all share the emphasis on the figures being the absolute center of attention on the canvas under the intentional guidance of the artists. Likewise, in all five portraitures, the artists not only focused on pursuing physical likeness but also aimed to represent the intricate relationship between the subjects’ personalities and social identities. In essence, the five portraits each serve as a mirror for viewers to witness the individuality and societal identities of a woman from different backgrounds, and the thematic exhibition aims to convey the complexities of womanhood in 18th-century Europe.
1. Jean Honore Fragonard, Marie Emilie Coignet de Courson (1716–1806) with a Dog, ca. 1769
The first painting in the thematic exhibition is a large-scale portrait of Marie Emilie Coignet de Courson, an aristocratic salon hostess. The artist’s masterful skill in composition, and depiction of the subject’s attire, pose, and expression went beyond merely capturing the physical likeness but embodying her elevated socio-economic status, confident sociability, and the complicated interplay between her subjectivity and societal expectations.
The composition of the portrait displays the power and importance of the figure. The figure is placed in the center and occupies the majority of the canvas. The artist also cleverly created a strong contrast between the figure’s magnificent scale and the tiny dog held in her hands. The presence of a pet dog here indicates the high social status and civilized lifestyle as well as symbolizes faithfulness, loyalty, and companionship (Hall, 2018.) 1Nevertheless, the dog’s gaze on its owner strategically directs the attention of the audience to the central figure. The artist’s depiction of the lady’s pose and facial expression also serves to display her high socioeconomic status and power. She is sitting comfortably and casually likely in a domestic setting. Her serene facial expression and the confident gaze of looking straight into the audience show her confidence and sociable nature as a salon hostess. Also, worth noticing is how she is dressed gracefully and appropriately conforming to her social identity. She is wearing a rather old-fashioned Spanish-style striped robe that was once recognized as a theatrical costume which added to her powerful and respectful social identity (Lajer-Burcharth, 2017.) 2The extravagant amount of jewelry she is wearing, the huge pearl necklace, hairdresser, earrings, and emerald brooches, again displays her wealth. In contrast to the delicate depiction of the figure is the simplicity of the background, which again highlights the purpose of the art piece: to commemorate the virtues of Marie Emilie Coignet de Courson. Nonetheless, the figure is evenly illuminated with warm light which along with the rich color palette creates a harmonious and visually pleasing image conforming to the timely taste in upper-class Europe.
2. Elisabeth Louise Vigee Le Brun, Comtesse de la Châtre (Marie Charlotte Louise Perrette Aglaé Bontemps, 1762–1848), 1789
The second artwork in the thematic exhibition is the portrait of Comtesse de la Chatre by Elisabeth Louise Vigee Le Brun in which the artist skillfully captures the grace of the young aristocratic lady and the societal expectation applied to her by a bigger context through the use of color, composition, pose, expression, and attire of the figure.
Being placed in the visual center of the canvas, the young lady is leaning casually while elegantly on a sofa with an open book in her hand as if she was just reading it before being interrupted by the artist which creates a sense of engagement and intimacy between the figure and the viewers. The presence of the book indicates her literacy and her being well-educated which was a favorable virtue of an elegant young lady from an upper-class family. Unlike the first piece of the salon hostess, the color tone for this portrait is more restrained which indicates the grace and sophistication of the young lady. Her white muslin dress is elegantly reserved while the layers and embroideries still reveal her family wealth. Her serene expression along with the idealized youthful facial features combined with the engaging look into the audience create a sense of innocence yet contemplation. The soft and diffused light creates a contrast between light and dark and adds to the sense of depth and tranquility of the image. The simply
rendered dark background, in contrast to the bright white dress again makes sure that the figure has the audience’s full attention and emphasizes the subjectivity of the young lady.
3. Adelaide Labille-Guiard, Study of a Seated Woman Seen from Behind (Marie- Gabrielle Capet), 1789
The third portrait of the exhibition is the study by Adelaide Labille-Guiard of her student Marie-Gabrielle Capet. Unlike the two previous works portraying aristocratic women from upper-class society, this portrait emphasizes the artist's practice rather than catering to the preferences of a commissioner. Guiard, as a successful female artist, captures a moment that extends beyond the traditional confines of portraiture through her depiction of the figure’s pose, expression, and physical features.
The intimate moment being captured in the portrait is likely happening under a casual setting in which the figure is undressing. The artist intentionally places the large area of the figure’s revealed back on the lower left corner of the canvas so that the naked skin appears to be closer to the audience. The intimacy between the figure and the viewer is further highlighted by Capet’s contemplative and communicative expression. She is slightly turning her head to the back as if she was checking out on the voyeurs and the seductive smile adds to the dynamic tension between the two parties. Unlike the two ladies from the aristocratic world, Capet represents female figures from the other sectors of society where less rigid standards or doctrines were enforced. Likewise, instead of idealizing the subject’s physical features in conformation to the patron’s preferences, Guiard adopts a rather naturalistic touch in this portrait as can be seen in the firms and wrinkles on the back skin of Capet. The relationship between the artist and her subject being depicted also “suggested a personal complicity between the artist and her models,
one transcending status-conscious calculations and professional jockeying (Jackall, 2009.”) The different power dynamic of the subject and the artist results in a distinctive representation of individuality and reflects the diversity of societal roles in 18th-century Europe.
4. Jean- Baptiste Greuze, The Wool Winder, ca. 1759, Oil on canvas
The fourth piece of the thematic exhibition is by Jean-Baptiste Greuze portraying a young girl winding wool under a domestic setting. Greuze’s choice of subject matter along with his masterful skills in depicting the pose and expression of the feature successfully captures the figure’s essence and her working-class identity under a broader societal context.
In the painting, the young woman being put onto the focal point of the composition is dressed in casual attire, the linen fabric and simple style of her dress indicate her identity as in a lower social class which is further highlighted by the act of winding wool, symbolizing virtuous labor and domestic industry. In the lower right corner, the presence of a pet animal, and in this
case, a cat, again serves to direct the audience’s attention to the center figure through its gaze. Unlike the previous works, in the portrait, the young girl doesn’t engage in any direct eye contact with the viewer. Instead, the ambiguity in her serene expression indicates that she is likely unaware of her being portrayed. The way of representation used here by Greuze might as well be connected to his intention in “unselfconsciousness serving at once to exclude and to engage the spectators” because of the belief that “the unselfconscious grace of a beautiful woman was thought to engage the spectator far more than one who self-consciously displayed her charms.
The fetishization and sexualization of the young girl in contrast to the portrayal of respectful virtues of aristocratic women reflected the disparity between the societal roles and perceptions of women at the time.
5. William Hogarth, Miss Mary Edwards, 1742
The last piece of the thematic exhibition is the portrait of Miss Mary Edwards by William Hogarth. As one of the richest women of the time, the lady commissioned this portrait herself. Through Hogarth’s depiction of the figure’s attire, posture, the contrast between light and shadow, and the surrounding interior of the space, the portrait again serves as a mirror reflecting not only her virtue but also the societal ideals and expectations associated with her identity.
The drastic contrast between the bright light on the figure’s flashy red dress and the dark background announces the lady’s absolute monarchy over the canvas. Her relaxed yet confident pose of casually leaning one arm on the desk and another hand petting the dog in the lower right
corner reinforces her power. The presence of the dog and its interaction with the lady again symbolizes its loyalty and the power dynamic also goes beyond the canvas and extends to the viewers who are forced to admire her magnificence. The delicate lace, embroideries, and jewelry are all displaying her wealth. In contrast with the simple background in the previous works, Hogarth utilizes the surrounding interiors to embody Miss Mary Edward’s virtues. The sculptures show her taste in art while the scripts and globe indicate her wisdom- virtues highly appreciated as a respectful manager of a great fortune.
In essence, the thematic exhibition aims to provide a nuanced exploration of womanhood in 18th-century Europe which is always open to contemplation for viewers. Each of the five paintings constitutes a unique layer to the collective narrative, contributing to a more comprehensive understanding of the complicated interplay among the diverse societal expectations, roles, and ideals that shaped the lives of these women.
Bibliography
Hall, James. Illustrated dictionary of symbols in Eastern and Western art. Routledge, 2018. Lajer-Burcharth, Ewa. "Fragonard: The Fantasy Figures." Artforum (2017)
Jackall, Yuriko. "Recovering the work of Marie-Geneviève Bouliar (1763-1825). The invention
of self in Revolutionary France." Les cahiers d'histoire de l'art 7 (2009): 48-60.
Barker, Emma. "Reading the Greuze girl: The daughter's seduction." Representations 117.1 (2012): 86-119.