The women of Morizot almost never look at the viewer. They do not smile, do not try to “look”. It seems that the artist strictly-strictly ordered her models to “forget” that they were being portrayed. This was probably not so difficult to do, as Morisot wrote very quickly and did not require the preservation of a certain posture and facial expression. What is usually a hindrance to the artist, was a help to Morizo.
So in the picture “At the Ball,” she appears only as a “passing observer,” accidentally seeing the face and shoulders of a young lady for a few seconds, her gesture with which she raised her fan, her high hair with chrysanthemums flowers in her. A spectator becomes a casual observer after the artist. Morisot does not allow him to “get acquainted” with the heroine of the canvas, but this casual, fleeting meeting leaves him with a long memory. So sometimes for weeks, for months, I remember the sight of a stranger who flashed and disappeared into the street crowd.
Nothing, except for the dress of a young lady and houseplants behind her back, does not tell us about the place of action of what is happening in the picture. A vaguely incident light does not allow us to talk about the time of day. The complexion of a woman contrasts with the “cold” color of her dress.
Morisot, by virtue of her “gender”, writes a naked woman’s shoulder completely impassive and very tactful. The only thing that interests her here is the smoothness of the skin and the “marble” reflexes of the light gray gas dress. Fan – the most “ball” detail of the whole picture. The lady holds him, as it should be, slightly, carelessly, slightly putting her little finger away.
(1 votes, average: 5.00 out of 5)