Study of a Seated Woman Seen from Behind (Marie-Gabrielle Capet) 1789

Editor: This is Adélaïde Labille-Guiard's "Study of a Seated Woman Seen from Behind (Marie-Gabrielle Capet)," made with charcoal and pastel in 1789. I'm struck by the intimacy of this piece, a glimpse of a private moment. What do you see here? Curator: Intimacy, yes! A stolen moment, perhaps, but also something much deeper. To me, it speaks volumes about the artistic relationships of the time, doesn't it? Labille-Guiard was a successful portraitist and here we see not a commission but an act of observation. Look at the textures created with charcoal, the delicate highlights that define form! I wonder, does it feel classical or rebellious to you? Editor: I think I feel more of a move toward classical than rebellious given the time period. There’s something very timeless in that profile view and draping. Curator: Precisely. Think about the echoes of antiquity so present in late 18th century France – those lines, that deliberate composition. But it’s Labille-Guiard’s handling of light, her intimate perspective, that sets it apart. How brave of her to offer us the averted face. As though, no matter what, there's some part of this person we can never know. What did the artist see in her subject that she so wanted to express this viewpoint? What do you think of that averted face, that knowing glance back over the shoulder? Editor: The fact that the subject isn’t gazing out, directly engaging the viewer definitely impacts my understanding. Her glance over her shoulder makes her seem knowing, maybe like she's hiding a secret? Curator: Secrets, possibilities, relationships; the magic of art isn't it? This artwork, and its secrets, remind us how perception shapes history. Editor: It's definitely a much more thoughtful piece than I originally gave it credit for. Thank you!