The Woman in Red

The symbol of the red dress has had various different meanings through Art History. In Our society today, red is a symbol of power and sensuality. In contrast, red is the color of blood, and the color we most associate with anger. Red can be dangerous, almost as if we should not be looking at it, yet red is vivacious and one of the most attention grabbing colors. Red can give off a stressful, nervous energy, or a warm comforting feeling. The technique of the painter will decide the version of red which the viewer will see.

Used in portraiture, red often makes a bold statement about the subject as well as the artist. Specifically in portraits of women, the crimson color of their clothing often speaks for the subject. The red dress can totally overtake the woman wearing it, simply making her an object to look at. It can tell the viewer if the woman is empowered, or trying reach toward the goal of independence. In the early 20th century, more rights and empowerment for women was coming into play, but the role and expectations for women in society were still very static. This curation aims to show many different roles that women in red dresses play in the artwork of the early 20th century.

Chaim Soutine, Madeleine Castaing, 1929, Oil on canvas, Metropolitan Museum Of Art. 67.187.107

This portrait of Madeleine Castaing, portrays a nervous energy. Castaing is an upper class Parisian woman, who commissioned Soutine to create this portrait. The bright red dress in contrast with the dark blue background present the red of her dress as the focal point. The Subject herself gives off an awkward, uncomfortable feeling. Although Castaing herself had a very successful career in interior design, perhaps she was used to being part of the background and now she is put into focus.

Otto Dix, The Dancer Anita Berber, 1925, Collection Landesbank Baden-Württemberg at the Kunstmuseum Stuttgart

This work by Otto Dix captures the association between the color red and sexuality. This is a portrait of Anita Berber, who was a very famous German burlesque dancer. She was also bi-sexual, and had a terrible drug habit as well. She did not conform to the standard role for women in her society. Her red hair and skin tight red dress affirm Berber’s embrace of her scandalous reputation. Unfortunately, Berber did not make it to her 30th birthday, but her essence is forever immortalized in Dix’s portrait of her.

Vanessa Bell, The Red Dress, 1929, Brighton and Hove Museums and Art Galleries

This painting by Vanessa Bell says more about the artist than the subject. The subdued palette and careful brushstrokes show Bell’s classical training. Her father had very traditional ideas for the role of women, and therefore created a very constrained environment for her growing up. After her parents died however, her art became much more expressive, free,  and used vivid colors. The subject of this painting creates unwavering eye contact with the viewer, almost as if she is patiently waiting to be set free from her restrictions.

Thomas Pollock Anshutz, Woman in Red, c. 1905-1910, Oil on Canvas, 34in x 30.5, Reading Public Museum

The Woman in Red by Thomas Pollock Anshutz gives yet another perspective of the red dress. The woman in this painting is thoughtful and brooding, which is often most seen as a masculine expression in portraits. The Red in her dress is not vivid, but gives a sense of power and confidence. She seems very relaxed in this painting and does not seem as if she is conscious of the way women are supposed to look or sit. She presents an air of quiet confidence.

Pierre-Auguste Renoir, Gabrielle in a Red Blouse, c. 1913, Oil on canvas, 9.29in x 8.03in, Private collection

This portrait portrays a softer side of the red dress. This portrait is very simple compositionally, and is painted with a very restricted color palette that puts the focus on the subjects face.  The painting seems to exude warmth. The subject of this painting was well known to the artist, she was his housekeeper and caretaker in his old age.  Gabrielle is rendered through gentle brushstrokes that make this painting soft, and makes the face seem familiar to the viewer.

Edvard Munch, Dance of Life, 1899-1900, Oil on canvas, 125 x 191 cm, National Gallery of Art, Oslo, Norway.

The Dance of Life by Edvard Munch is a beautiful image of womanhood. The figure on the left is dressed in white, signifying her purity. On the right is a woman dressed in black, which signifies mourning, she is most likely mourning the loss of a spouse. The Figure in the middle is dancing with a man, and is wrapped in a vivid red dress that signifies her passion, love, and vivacity. Her dress and hair seem to intertwine herself and her partner into one. This painting exemplifies the stages of a woman’s life, but all of these stages of a woman's life still seems to center around male presence or the lack of male presence in their life.