Composition

Comparing the 1898 photograph with the present state of this portrait it appears that, although not radically changed, the outline of the model's hair and of her boa, on her shoulders, was darkened and softened. Judging by the 1898 photograph, which renders the remains of the wiped-off paint more clearly, the hand and arm were lowered about 1 cm during painting. The area round her mouth was reworked and her lips made fuller, so that she had a sweeter expression.

However, as Dr Joyce H. Townsend points out, it is difficult to judge changes from the older photograph:

'The 1898 photograph would have been taking using orthochromatic film, more sensitive to the infrared than B&W film today. It would therefore emphasise dark areas that include black pigment, and would be more likely to capture underdrawing than the human eye. The soft brown colour of the photograph suggests it may have been printed using a toning process (selenium? various metals were used) which could further distort the grey values. These make it tricky to infer colour change from this image.' 1

Technique

The canvas has been lined, which has emphasised the weave of the canvas. The pearly appearance of the flesh tones suggests a pinkish-grey artist's priming. 2

The face is quite highly finished and, although not heavily painted, carefully modelled with the paint fairly thin, in muted tones of flesh colour and pink, brown and grey. The brown eyes glitter with reflected lights, the nostrils are touched with red. The technique is boldest at the bottom of the canvas and at its finest around her eyes, but completely consistent and effective throughout.

Conservation History

The painting is in excellent condition. 3

Frame

It is in its original Grau-style frame, dating from the 1890s, which was probably made for exhibition in 1898. 4 Size: 81.2 x 61.2 x 7.7 cm.