The Seven Deadly Sins, Envy 

Editor: We're looking at "The Seven Deadly Sins, Envy" by Erté, done in the Art Deco style. The strong, graphic lines and the vibrant colours make a powerful statement, almost theatrical. It strikes me how much is communicated through purely visual means. What do you make of the composition, in particular, how the figure relates to the ground? Curator: Formally, observe how Erté exploits the tension between two-dimensional surface and illusionistic depth. The flat black background presses forward, almost negating the receding space suggested by the figure and the mirror. Do you notice how the elaborate ornamentation, particularly the hairstyle and jewelry, flatten the figure, turning her into a pattern against this stark void? Editor: Yes, I see that. It's like she's becoming part of the design itself. But why frame her like that? Is it just aesthetics? Curator: Not entirely. Note how the stylized 'eyes' in the background – are they watching her, watching us, or both? Erté uses these stark oppositions—flat versus dimensional, observed versus observer—to visually articulate the sin of envy. Envy, after all, is a condition of perpetually seeing oneself in relation to another. The composition reflects this through its mirroring and the lurking, almost spectral, gaze in the backdrop. Editor: That makes perfect sense! The mirror isn't just a vanity item, it’s central to the whole meaning. Curator: Precisely. The formal elements – the flatness, the gaze, the mirrored reflection – coalesce to express the very essence of the depicted theme. Each element, carefully considered, strengthens the other. Editor: So by focusing on these design choices, we can understand Erté's conceptual purpose even more clearly. I’ll certainly be looking at art in a new way now!