Woman in Rose Dress1805–181526 5/8 x 24 5/8 x 1/2 " (67.6 x 62.5 x 1.3 cm)
Frame: 31 x 24 3/4 x 1 1/4 " (78.7 x 62.9 x 3.2 cm)Oil on pine panelGift of Ralph Esmerian2005.8.20Waist-length portrait of young woman wearing a soft red/pink dress with ribbon rope at Empire waist, collar with four points and black birds, lace fringes on short sleeves with three buttons above. Wearing suite of gold jewelry, earrings with red stones. Hair hanging across face in long points (P) left arm crossed at waist and holding right arm at inside of elbow. Against gray-green washed background.1545263365P1.2001.006Artist unidentifiedPaintingsThe American Folk Art Museum believes this work to be in the public domain. Two labels on back from David SchorschUnited StatesVermontPaintings
In March 1810, Le Beau Monde and Monthly Register described the trends in French evening fashion: “Among the fashionable dresses which are selected by persons who are distinguished in the highest circles for their superior taste, the most prevailing is the Persian Robe, made of pink satin, ornamented with black lace and drops of pearls.” The young woman in this idiosyncratic portrait wears a dress in a beautiful rose color that is embellished not with black lace but with brooding blackbirds embroidered in the points of the Vandyke collar. The triangular points of the collar are repeated on the sleeves, which seem to be adorned with pearly buttons, as described in Le Beau Monde, and a deep cuff of hand-netted lace. At one time, the painting also included a fichu tucked into the neckline.
The portrait is distinguished by the eccentric bangs separated into long strands that hang across the young woman’s face. Although the hairstyle and blackbirds may be somewhat disturbing to modern eyes, the dress is probably a rural adaptation of Parisian fashion, and a modified version of the hairstyle is documented in portraits of the 1800–1805 period. The portrait itself shows little modeling in the treatment of the face and body and is leanly painted over a gray undercoat. At least two additional portraits can be attributed to this unidentified artist.
Stacy C. Hollander, "Woman in Rose Dress," in American Radiance: The Ralph Esmerian Gift to the American Folk Art Museum (New York: Harry N. Abrams in association with American Folk Art Museum, 2001), 378.
Object information is a work in progress and may be updated with new research. Records are reviewed and revised, and the American Folk Art Museum welcomes additional information.
To help improve this record, please email photoservices@folkartmuseum.orgportraitP1.2001.00618051815 2005 8 2 In March 1810, Le Beau Monde and Monthly Register described the trends in French evening fashion: “Among the fashionable dresses which are selected by persons who are distinguished in the highest circles for their superior taste, the most prevailing is the Persian Robe, made of pink satin, ornamented with black lace and drops of pearls.” The young woman in this idiosyncratic portrait wears a dress in a beautiful rose color that is embellished not with black lace but with brooding blackbirds embroidered in the points of the Vandyke collar. The triangular points of the collar are repeated on the sleeves, which seem to be adorned with pearly buttons, as described in Le Beau Monde, and a deep cuff of hand-netted lace. At one time, the painting also included a fichu tucked into the neckline.
The portrait is distinguished by the eccentric bangs separated into long strands that hang across the young woman’s face. Although the hairstyle and blackbirds may be somewhat disturbing to modern eyes, the dress is probably a rural adaptation of Parisian fashion, and a modified version of the hairstyle is documented in portraits of the 1800–1805 period. The portrait itself shows little modeling in the treatment of the face and body and is leanly painted over a gray undercoat. At least two additional portraits can be attributed to this unidentified artist.
Stacy C. Hollander, "Woman in Rose Dress," in American Radiance: The Ralph Esmerian Gift to the American Folk Art Museum (New York: Harry N. Abrams in association with American Folk Art Museum, 2001), 378.
Object information is a work in progress and may be updated with new research. Records are reviewed and revised, and the American Folk Art Museum welcomes additional information.
To help improve this record, please email photoservices@folkartmuseum.orgportrait