Alice Warder Garrett c. 1909 - 1910

Curator: Here we have a portrait of Alice Warder Garrett by Alice Pike Barney, likely painted around 1909 or 1910. There’s a captivating looseness to it, almost like a sketch brought to vibrant life. Editor: The first thing that strikes me is the flamboyance! The extravagant fur collar, the plumed hat, all set against that fiery red backdrop—it's a declaration of status and perhaps even defiance. It feels like a painting poised on the edge of social critique. Curator: Exactly. Barney was known for her bold spirit. She captured Mrs. Garrett with such confident strokes; you can almost sense a kindred connection between the two women. I get the impression she understood Mrs. Garrett as a patron. Editor: Absolutely, and what interests me is thinking about these portraits in the context of the artist, Alice Pike Barney, who moved in circles that saw both women as wealthy elites and art patrons. Her choice of subject speaks volumes about the societal expectations placed on women of that era, expected to fulfill their role of wife and philanthropist and socialite in the world of wealth. Curator: Yes, Barney always painted what moved her. But it is not just in who she paints; her aesthetic is also very exciting. This particular one feels like a whirlwind of brushstrokes that catch the light. The red background pulses and shifts like an active thing. The brushwork isn’t striving for strict realism; it wants something much more suggestive and playful. Editor: Right, it's not just a likeness, it's an evocation of character. And the fur, what is so historically telling about that ostentatious display? Its sourcing could have been very cruel to certain animals during that era! And then there is that smile. Knowing a bit about the era’s beauty standards I can’t help but feel like it seems to undermine this image a bit, it comes off, in comparison to the very obvious symbols of wealth, almost mocking. Curator: Maybe we shouldn't assume all artists should be saints when reflecting upon their social impact. It's really in those little sparks of personality and that bold brushwork that the piece starts to really speak, beyond social standing or any trappings thereof! Editor: Fair point, there's certainly an undeniable allure, an emotional intensity here that goes far beyond its social trappings. But the act of observing a life on canvas begs an intersectional reflection on the subject matter’s status and historical framing!