659

Arnold George Mountfort

British/California, 1873-1942

Arnold George Mountfort
(British/California, 1873-1942)

"Portrait of Three Edwardian Beauties", 1911

oil on canvas
signed and dated lower left, a "Christopher Wood/London" gallery label en verso.
Framed.
66" x 102-1/2", framed 70" x 105"

Provenance: Christopher Wood Gallery, London, England; Private collection, Galveston, Texas.

Exhibited: Ye Ladye Bountifulle: Women and Children in Victorian Art, Christopher Wood Gallery, London, England, November 7-30, 1984.

Literature: Illustrated p. 24 of exhibition catalogue.

Notes: At first glance, this appears no more than a carefully composed society portrait of three Edwardian stunners, each richly attired in sumptuous silks, chiffons and laces, set within a suitably luxurious interior. Closer examination, however, reveals it is a subtle visual cautionary tale of respectability and expectation versus self-indulgence and individuality.

The Edwardian era (roughly corresponding with the American Gilded Age), inevitably inspired and influenced by its namesake Edward VII, was a time of prosperity, extravagance and a gentle loosening of the more rigid moral strictures for which the Victorian period had so long been maligned. British arts and culture were flourishing, and the sciences - through exploration and invention - were making strides at an almost incomprehensible pace. Portraiture at this time reflected both pride in the country's accomplishments and its reputation by emphasizing the "here and now" with contemporary settings and accoutrements. No longer was there the emphasis on the classical, historical, or mythological that permeated earler periods.

The portrait offered here is of an intimate, familial gathering as evidenced by the women's relaxed, casual poses and the absence of the de rigueur evening gloves. The young woman in the embroidered mint-green gown is the epitome of the "English Rose", the clear-eyed beauty of ivory complexion and rosy cheeks - indeed, she has a pale pink bloom nestled in her neckline. Set towards the left of the painting, she is clearly the main subject of the composition, with the light projecting directly towards her. Behind her in partial shadow is the more somberly but no less opulently attired young matron, the ideal of English womanhood and the presumed girlhood aspiration. The third woman, with her cosmetically enhanced cheeks and lips and hennaed hair, serves as her foil; clad in a light orange gown, she leans provocatively into the back of the sofa. One dress strap has slipped dangerously low exposing her shoulder in a manner verging on indecency and just shy of vulgarity; there is more than the hint of the stage. The color of her dress itself is an interesting choice. The acclaimed Victorian and Edwardian fashion scholar C. Willett Cunnington once stated that orange, admittedly never a particularly popular color for gowns, suggested "a degree of animal passion which the pure should not possess." Physically situated between the two older women, the young central figure is at a precipice - a decisive moment which will determine the trajectory of her life - respectability and expectation or adventure and independence. Perhaps her choice has already been made - with a direct gaze and thoughtful expression, she is leaning towards the respectable maiden, with a pillow-draped couch's distance between herself and the woman on the left.

oil on canvas
signed and dated lower left, a "Christopher Wood/London" gallery label en verso.
Framed.
66" x 102-1/2", framed 70" x 105"

  • Provenance: Christopher Wood Gallery, London, England; Private collection, Galveston, Texas.
  • Exhibited: Ye Ladye Bountifulle: Women and Children in Victorian Art, Christopher Wood Gallery, London, England, November 7-30, 1984.
  • Literature: Illustrated p. 24 of exhibition catalogue.
  • Notes: At first glance, this appears no more than a carefully composed society portrait of three Edwardian stunners, each richly attired in sumptuous silks, chiffons and laces, set within a suitably luxurious interior. Closer examination, however, reveals it is a subtle visual cautionary tale of respectability and expectation versus self-indulgence and individuality.

    The Edwardian era (roughly corresponding with the American Gilded Age), inevitably inspired and influenced by its namesake Edward VII, was a time of prosperity, extravagance and a gentle loosening of the more rigid moral strictures for which the Victorian period had so long been maligned. British arts and culture were flourishing, and the sciences - through exploration and invention - were making strides at an almost incomprehensible pace. Portraiture at this time reflected both pride in the country's accomplishments and its reputation by emphasizing the "here and now" with contemporary settings and accoutrements. No longer was there the emphasis on the classical, historical, or mythological that permeated earler periods.

    The portrait offered here is of an intimate, familial gathering as evidenced by the women's relaxed, casual poses and the absence of the de rigueur evening gloves. The young woman in the embroidered mint-green gown is the epitome of the "English Rose", the clear-eyed beauty of ivory complexion and rosy cheeks - indeed, she has a pale pink bloom nestled in her neckline. Set towards the left of the painting, she is clearly the main subject of the composition, with the light projecting directly towards her. Behind her in partial shadow is the more somberly but no less opulently attired young matron, the ideal of English womanhood and the presumed girlhood aspiration. The third woman, with her cosmetically enhanced cheeks and lips and hennaed hair, serves as her foil; clad in a light orange gown, she leans provocatively into the back of the sofa. One dress strap has slipped dangerously low exposing her shoulder in a manner verging on indecency and just shy of vulgarity; there is more than the hint of the stage. The color of her dress itself is an interesting choice. The acclaimed Victorian and Edwardian fashion scholar C. Willett Cunnington once stated that orange, admittedly never a particularly popular color for gowns, suggested "a degree of animal passion which the pure should not possess." Physically situated between the two older women, the young central figure is at a precipice - a decisive moment which will determine the trajectory of her life - respectability and expectation or adventure and independence. Perhaps her choice has already been made - with a direct gaze and thoughtful expression, she is leaning towards the respectable maiden, with a pillow-draped couch's distance between herself and the woman on the left.
  • Condition: **Surface dirt and toning of the varnish layer. Difficult to penetrate varnish layer with UV light. Small, scattered areas of inpainting, mid-right (central figure, her hair, bosom, nose to mouth and background); woman on right (her dress); mid-right (background); upper/mid-left (background). Additional images taken under UV light available. Craquelure pattern visible. Small surface marks and accretions lower left (to the right of signature).

    Gilt frame with surface marks, nicks and abrasions.

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