Seated Portraits of Women, 1850-1910

 In the late 1800s and early 1900s, portraiture was an important mode of presenting self to the world. Portraits of prominent and fashionable people would appear in important shows for people to admire or critique, while other times, paintings of fashionable women would be referenced in fashion catalogues of magazines to contribute to the discussion. Consequently, how societally prominent women presented themselves in the paintings was a needed consideration. However, for portrait painters, constantly changing fashions resulted in difficulty. If their paintings were to remain appealing over time, artists had to consider whether the sitter’s outfit would soon be considered outdated. As a result, each article of clothing and jewelry should be seen as very deliberate in building the sitter’s identity as well as indicative of the artist’s preferences. 

During this time period, there was also a rise of opulent and tailored dresses from fashion houses such as those of Charles Frederick Worth. These were popular, sometimes incorporated in painting to display wealth or for stylistic effect. However, some criticized these dresses as taking the focus away from the actual individual by being so impressive and grand. 

Additionally, the context of the sitter is important in portrait painting of the period. In this exhibition, all the portraits are of seated women in interior spaces. The seated position suggests idleness, opulence, and privilege. The various paintings explore the identity of society women and how they present themselves, seated, elegant, and ready to be observed.

John Singer Sargent,

Mrs. Hugh Hammersley, 1892.

The MET Accession Number: 1998.365.

Mrs. Hammersley, the prominent hostess and banker’s wife, wears a vibrant and daring dress, presenting an engaging and vivacious self. The color of her dress is striking as it was both recently fashionable, and also only recently a possible color through the development of dye technologies. Consequently, the outfit presented both the new and vogue while also having great financial means. Although sitting on a nice couch and surrounded by elegant drapery and carpet, Mrs. Hammersley’s bright contrast with the dull background clearly identifies her as the jewel. The real wealth is concentrated in her own bright and daring personality.

Berthe Morisot,

The Pink Dress (Albertie-Marguerite Carré, later Madame Ferdinand-Henri Himmes, 1854–1935), 1870.

The MET Accession Number: 2003.20.8.

During this time period, often different clothes were worn in the home than on excursions. Without a hat or gloves, clearly the sitter, Albertie-Marguerite Carré is either taking a quiet afternoon, or is waiting to receive callers. She sits with one arm draped confidently over the couch pillow, exuding a quiet competence in her leisure within her home. She is a person at peace in a light, airy pink dress, ready for the social issues that may come her way.

Thomas Anchutz,

A Rose, 1907.

The MET Accession Number: 1993.324.

In this 1907 portrait by Thomas Anshutz, the woman as seated, idle, and observable is especially highlighted. The background is in deep shadow while an exotic carpet and rose the color of the woman’s dress suggest she is on display, perhaps intentionally. The brightly colored dress is accentuated by golden bangles, a white lace collar, and a simple necklace. Without any activity or context visible, this woman’s value is deeply entwined with what she wears and how the portrait presents her.

Jean-Auguste-Dominique Ingres,

Madame Moitessier, 1856.

The National Gallery UK Accession Number: 1936.

This fashionable portrait was commissioned by a wealthy banker and his new wife. Ingres began in 1844, but was delayed in finishing the portrait by twelve years due to various life circumstances in his own and the sitter’s life. Consequently, Mme. Moitessier’s dress had to be reworked three times in order to keep up with the fashions of the day. The sitter’s fancy fan, jewelry, and the concern for an up-to-date dress reflected the concern that the portrait be as flattering as possible to the sitter when it was completed.

Vincent Van Gogh,

The Potato Peeler, 1885.

The MET Accession Number: 67.187.70b.

This image was painted in Holland on a trip of Van Gogh’s to paint some peasants. Unlike the portraits of seated society women, this peasant is sitting on an austere straight-backed chair to work. Sitting does not mean leisure or elegance for this working class woman. She does not seem aware of observers, and her clothing blends in with the dirt-colored background and everything else in this monochromatic painting. She is not trying to stand out or be recognized if the painting were to be displayed in society. The woman simply has no identity among the leisure-filled lives of society women.