Guest Art Gallery Day -- 3 Women and Hauteur

11 Oct 2007

[A brief break from jokes, dildo stories, fantasy dates, and other regular features ... ]

The two pics below are by my artist-friend Colette (her myspace link ). We'd been exchanging emails lately, critiquing each other's creative pursuits. I told her I was going to pick one of her drawings and post it here, along with my professional * analysis. Turns out I picked two, mostly because I thought if you saw two drawings, you'd get a better sense of her style. I'd also invite YOU, dear reader, to play art critic and interpret the pieces on your own in the comments section.


Analysis: So, I was thinking that 3 Women must represent the Bronte sisters. I'd wager it's Emily in the foreground (the romantic dreamer), Anne in the middle (sandwiched, as it were by her two arguably more renowned sisters), Charlotte standing with the authority only the author of Jane Eyre could pull off -- three surely creative women depicted just as literally entangled as they certainly have always been figuratively. Some interesting qualities, aside from that literary speculation, include, of course, the use of texture for one. Also, the way the drawing spreads across the entire bottom half of the box and then rises more or less to a point at Charlotte's head. Kind of reminiscent of a bronze statue -- large, heavy base, detail rising into the air. And what kind of people or subjects get bronzed? Famous ones. (Thus supporting my postulation above -- not to mention the obvious details: that their appearance portrays three intelligent-looking women whose dress and surroundings indicate a reasonably comfortable period household.) I would further remark that, on closer inspection, it's interesting to me as a non-artist to realize the importance eyebrows play in human expression -- as well as the eyes themselves, of course. Contrast these three intelligent, curious, pensive women with Hauteur (below) and this fact really jumps out.


Analysis: Judging from the sample of drawings within [Colette's chapbook, Rooms Without Doors ], I'd have to say that the shading of the figure in Hauteur is immediately notable. That and Masculinity [another drawing within that book] are the only two that have such pronounced depth of space purposely achieved via skin-tone shading alone. In fact, it's the most stark of them all, perhaps, as she's without the dark background of Ophelia [another work] or the cane and costume of Masculinity. The lips, hair, and eyes, function as the primary focal point -- which seems apropos as one would imagine that her arrogance should be most apparent in her facial expression, as well as her body language. In fact, this notion is supported by her rather nondescript dress, on which rests that attitude-laden left hand with the dangerous fingernails. She looks, naturally, off to the right instead of at the viewer -- because she's better than the viewer (the elegantly held neck, the coiffed hair); she wouldn't dare lower her standards and look at you when there's something more interesting elsewhere. And yet, she's also alone, an irony she does not necessarily perceive. Or maybe she does perceive it, in an unconscious way. Her eyebrows suggest anger, or possibly jealousy -- some negative emotion manifesting itself elsewhere, as her right arm raised to her shoulder, the hint of a clenched fist as though she'd like to strike out at someone or something.


*As I suggested, try your hand at art criticism in the comments section. I'm not overly experienced at it myself, and probably could have been more insightful. Anyway, Colette stops by here from time to time, and she'd love to read your analyses.


Original Comments

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On October 12, 2007, Chris wrote:

For someone who is 100, she draws damn well :)

The second picture is what I would imagine the lady from 101 Dalmations would have looked like in her younger years ... .but in a twisted hot Domme kind of way ;)

On October 15, 2007, Monstro wrote:

I like the top one. 3 women--one seductively playing with her shoulder, the second looking on critically, and then the third simply bored with it all.