Untitled (Society Portrait) - Essay Example

Un d Society Portrait Table of Contents Table of Contents 2 Introduction 3 Analyzing the Portrait 3 Work Cited 5 Introduction Louis Emerson Ronnebeck, wife of the famous Colorado Sculptor and renowned lithographer, Arnold Ronnebeck composed this society portrait which she has not given any name on the matrix of oil painting on 32 ¼ inches x 25 ¼ inches canvas. Like most of the society portraits of the first half of twentieth century, this oil painting also depicts a lady sitting on a couch with an aristocratic appeal and gesture.

A deep delineation into the scheme of things tending to revolve around the portrait and its motif shall lead to the opening of many clues regarding this portrait of the anonymous lady.Analyzing the Portrait On the first gaze at the portrait, it seems that the lady definitely belongs to the aristocratic segment of the society. Lying half–seated on a couch, the lady seems a bit pensive in mood. The color of her skin, hair and eyes indicate that she is European by race. Interestingly, only very few colors are used in the portrait.

Yellow, white, grey and shades of brown both deep and light are schematically used in the picture. At the same time, one can argue as that these coolers are building a theme for the portrait of the anonymous lady as well. Very interestingly, the background colors are very much different and the painter uses light and dark shades of blue along with tinge and shades of brown over it which is quite well synchronized and chosen deliberately as the color scheme of the portrait is on the lighter and drab side.

Use of light is done meticulously throughout the portrait and the lines are so fine that nobody will ever find in determining the mood and gesture of the lady. The couch on the other hand is casted with the hue of red color and here too the use of brown both light and dark shades have been well organized keeping in mind the actual color scheme of the portrait. Taking a gaze at the socio-cultural aspect of the society portrait apart from its technical side, it can be well asserted that the hair style and the kind of wardrobe, the lady is putting up indicates a time frame of early half of the twentieth century.

During that time, butterfly sleeves and use of shrugs, stoles and veils were very common. The lady is also putting up a necklace made of some yellow beads; the choice of simple yet exquisite jewelry in terms of both the necklace and the ear-ring and wristlet on the left hand is showing a mark of classy style. The lady is probably holding her bag or a veil black in color and very interestingly the side of the couch is having dark brown and black hues which is posited parallel to the lady’s black bag and has evolved out keeping the parity of the vision.

Her appeal, wardrobe and approach indicate a first ranked American stylistics during the beginning of the twentieth century. A gaze at the expressive part of the portrait launches its viewers into an enigma as the appeal of the thin-chinned lady is potent. Nevertheless, after one gazes at the portrait for few minutes, it raises so many inquisitions regarding the actual mood of the lady. Is it a vacuum of heart, a mood full of gay thoughts or an indication for an outward and expressive classicism?

The rosy lips of the lady have a thin line of smile on it, but no one can assure that she is smiling in the portrait. This rare combination of a pungent tinge of sarcasm and exquisite expression of aristocracy with such intense serene appeal makes the portrait unique. At the same time, a pertinent socio-cultural and socio-economic scenario of the time is peeking though the fine lines of the oil painting captivated within the frame of the canvas (Archives of American Art, “Arnold Rönnebeck and Louise Emerson Rönnebeck papers, 1884-2002”).

Work CitedArchives of American Art. Arnold Rönnebeck and Louise Emerson Rönnebeck Papers, 1884-2002, 2013. Web. 24 Apr. 2013.