Perdita's Prince: (Georgian Series) - Jean Plaidy - كتب Google
Gainsborough's portrait is not a study of character - he's happy to take Mrs Robinson at face value and celebrate her as a famous beauty. He is a jeweller among artists, a supremely decorative painter whose attention to surfaces is spellbinding. He almost always painted portraits, usually in rural settings. His art developed from early Suffolk landscapes in which the gentry pose slightly awkwardly to sumptuous harmonies of body and landscape.
Although the Prince Regent paid for this tall, grandly-scaled picture, it seems to be Mrs Robinson who has determined its pose in a way that communicates her plight in various subtle ways. Perdita is in a pastoral retreat, nursing her wounds. She has been exiled to an autumnal landscape where the hues are brown and muted.
The wind-buffeted trees are echoed in her own fragile, willowy figure and suggest the blows she has sustained. She communicates her loyalty to George - she's like the patient dog - and her desire is evoked by the mysterious shadows of the woods. Inspirations and influences: Gainsborough's rustic refinement takes its erotic woodland ambience from the French rococo painter Antoine Watteau , who painted fetes galantes, in which masked revellers flirt in decorative woods.
Perdita merges with an eroticised nature like the lovers in Watteau's Departure from the Island of Cythera.
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Gainsborough provided the justification for portrait painters at the turn of the 20th century like John Singer Sargent to depict people with a near-abstract decorative freedom such as his pastoral portrait Carnation, Lily, Lily, Rose Where is it? Topics Culture Portrait of the week. Reuse this content.
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