The Vicomtesse de Vaudreuil 1785

Editor: Here we have "The Vicomtesse de Vaudreuil," an oil painting created in 1785 by Elisabeth Louise Vigée Le Brun. The piece has a soft, almost dreamy quality. What catches my eye is how the colors interact; there is such delicate layering. As a formalist, how do you approach this piece? Curator: Note how the composition is organized through the oval format, creating an intimacy that frames the subject. Observe the painterly treatment of textures - the light dances across the translucent fabric of her fichu and hat. Her skin possesses luminosity as well. These details structure the visual field. Editor: Yes, the way light falls really guides your eye. Is there a significance to the subject's placement in the landscape, or is that simply background? Curator: More importantly, how do the linear rhythms generated by the drapery relate to the gentle curves of the background? Notice that there are formal connections that work to subtly unify the subject. Her pose interacts with the gentle upward trend of the treeline that is found immediately adjacent. These components aren’t independent; they operate interdependently. Editor: So, you are pointing out how the shapes and textures aren’t just decorative but contribute to the artwork's structure? I also like the implied texture made via paint. Curator: Precisely. It invites careful consideration of artistic technique divorced from other considerations like who this person was, her importance in society, or her historical circumstances. To what effect, ultimately, are her structural and compositional relations enacted? Editor: I never considered only how the shapes speak to each other so intently, but seeing the piece in terms of its structure really brings out new angles for analysis. Curator: And that analysis of artistic strategies reveals this artwork’s formal accomplishment! The formal elegance transcends simple portraiture and verges on the sublime through such calculated employment of material and structure.