#portrait of an unknown lady

[artschoolglasses]

Portrait of an Unknown Lady, British, 1645-55

[quo-usque-tandem]

Portrait of an Unknown Lady by Joan Carlile

[diioonysus]

necklaces/chokers + art

[world-literatures]

Portrait of an Unknown Lady by María Gainza

This was, unfortunately, in many ways a novel where the synopsis sounds more interesting than the book actually is. That said, once I accepted this for what is was (literary fiction) and not what I thought (thriller/mystery) I did appreciate it. I liked the shifting timelines and the discussions around art, forgery and identity.

genres: literary fiction

translator: Thomas Bunstead

rating: ★★★

goodreads synopsis:

In the Buenos Aires art world, a master forger has achieved legendary status. Rumored to be a woman, she seems especially gifted at forging canvases by the painter Mariette Lydis, a portraitist of Argentine high society. But who is this absurdly gifted creator of counterfeits? What motivates her? And what is her link to the community of artists who congregate, night after night, in a strange establishment called the Hotel Melancólico?

On the trail of this mysterious forger is our narrator, an art critic and auction house employee through whose hands counterfeit works have passed. As she begins to take on the role of art-world detective, adopting her own methods of deception and manipulation, she warns us “not to proceed in expectation of names, numbers or dates . . . My techniques are those of the impressionist.”

What follows is a highly seductive and enveloping meditation on what we mean by “authenticity” in art, and a captivating exploration of the gap between what is lived and what is told. Portrait of an Unknown Lady is, like any great work, driven by obsession and full of subtle surprise.

[7pleiades7]

Portrait of a Lady in White Gown, (detail), by an Unknown Artist, oil on canvas, 48 x 37 inches

[llovelymoonn]

ivan kramskoi portrait of an unknown woman (1883)

kofi

[embirush-art]

portraits of two mysterious ladies, late 19th century, unknown artist

[knightsickness]

curled up in a ball beneath a pile of wolfskins the company of wolves, neil jordan / a dance with dragons, george rr martin / the bloody chamber, angela carter / barbe-bleu, georges melies / perfect wife, amigo the devil / portrait of a young lady, unknown / planche anatomique, jacques fabien gautier d’agoty / hidden rigaud, volker hermes

happy harlaween @sare11aa11eras ❤️

[asoftepiloguemylove]

"I HATE EVERYONE ELSE IN THE WORLD BUT YOU." // RUE AND JULES

Gigi Perez Sailor Song // Euphoria (2019-) cr. Sam Levinson // Virginia Woolf in a letter to Lytton Strachey dated 8 September 1925 // Alethea Spark // Euphoria (2019-) cr. Sam Levinson // unknown // Edward Sharpe and the Magnetic Zeros Home // Dodie She // Beau Taplin // Euphoria (2019-) cr. Sam Levinson // Rudy Francisco // Hannibal (2013-2015) "Secondo" dir. Vincenzo Natali // Euphoria (2019-) cr. Sam Levinson // Portrait de la jeune fille en feu Portrait of a Lady on Fire (2019) dir. Céline Sciamma

[vincentbriggs]

Hello! Transfem person here. I haven't started HRT yet, but want to procure a 1730s menswear suit (actually decided based on your video). I would prefer not to wait for it if possible, since I don't know when HRT is going to be possible. I am, however, a little concerned about my bust size changing and affecting the fit of the waistcoat. Is that decade usually pretty forgiving in it's tailoring? I am also considering having the upper back tie like some later waistcoats to accommodate if necessary (even if it's not entirely historical), but I figured I would ask you.

Thank you!

Hello! Ooh yay! Not enough people do early 18th century, so I'm delighted to hear that! (Link to the 1730's suit mentioned.)

I think the fit would be affected, yeah. The sides of the waistcoat are easy enough to let out (and we have extant examples of waistcoats with an extra strip of fabric added into the side seam) but the curve of the front is pretty important to how it sits on you. But then, it is fashionable in that era to leave quite a lot of the top portion unbuttoned, so maaaybe you could get away with it not fitting as well, depending on what changed and how much?

Regarding the adjustability of waistcoats, some of the earlier ones actually do have lacing in the back! This red one is an especially nice example, and it's separate all the way to the top.

(c. 1740's, V&A) (Though you also do see ones with the back hacked up and a bunch of ties that were likely added by Victorians for their fancy dress parties.)

The breeches also have adjustable waistbands, of course, so I think the hardest part to alter would be the coat. The back vent is edge to edge, so there's no overlap to sneak a bit more width out of, and letting out the side seams would require re-doing those massive pleats, which were the part I found the most difficult when making my coat. But fortunately those coats were worn open a lot of the time, so even if they're not quite right when buttoned, they should still look ok unbuttoned.

It's very difficult to predict how the fit will be affected, since HRT is different for everyone and things keep changing years down the line. (One comment on this post talks about suddenly getting more breast and hip growth after 7, 12, and 14 years.)

I only have experience from the transmasc side of things, and alas, I very much did outgrow all my old waistcoats and coats. My 1730's suit needs alterations, because the waistcoat is a bit too small, and the coat seams could use a bit of letting out too. (I made those the year after top surgery, but my ribcage kept expanding and my posture improving for quite a while.)

I've been putting it off because alterations are boring :/ My pre-top surgery waistcoats are all way too small across the chest even though material was removed, because my posture was kinda bad and I didn't even notice it, and I expect that the opposite could also lead to the same sort of better posture from more confidence & comfort.

But bodies keep changing forever anyways, even without transitioning. Plenty of cis people can't fit into the things they sewed when they were younger, so we may as well make things to fit us now. Perhaps you could make the suit now, but use a not-too-expensive fabric, and then maybe alter it later, or make a newer and better one with the experience you gained from the first one!

Also I know you specifically said menswear suit, but I want to add the fun fact that women's riding habits in this era looked extremely similar to men's suits!

(Left: Maria Amalia von Habsburg by Franz Joseph Winter, right: Member of the Van der Mersch Family by Cornelis Troost.)

As far as I can tell, the main differences are that the riding habits have a petticoat instead of breeches, and are made to fit over stays.

(Empress Elisabeth Christine in riding costume, unknown artist.)

So similar, in fact, that this portrait of a young lady in a riding habit was misidentified as a young man!

Most of the petticoat is out of frame, but you can still see that it's not beeches, and the stays shape is pretty obvious. Very silly of Sotheby's not to notice!

I have no idea if you're interested in wearing a riding habit, and I'm not sure how difficult it would be to alter the somewhat looser men's coat to fit over stays, but thought I ought to mention it.

[artschoolglasses]

Portrait of a Lady, 1645-55

[fleshacker]

Portrait of an Unknown Tiefling Lady by Oskar Fevras commissioned by lord Enver Gortash.

[diioonysus]

rings + art

[history-of-fashion]

ab. 1630 Unknown artist, Holland - Portrait of a Young Lady in Lilac Dress

(State Hermitage Museum)

[7pleiades7]

Portrait of a Lady (1739), (detail), by Nicolas de Largillière (French, 1656-1746), oil on canvas, 61.5 × 66 cm, (whereabouts unknown)

[wolven91]

The Artist's Eye

"Why does it look so strange?" Asked the noble, tilting his head one way, then the other.

"I believe it's wider than it should be. I have a summer home that has those buildings in the background there..." A scaled, clawed hand points at the backdrop of the portrait. "The buildings are far thinner in real life. Everything is wider than it should be." Claimed the second noble, another male whose tongue briefly flicked out from between his scaled lips and lapped at the blue liquid in his delicate glass.

The pair of them continued to observe the giant portrait painting of an ursidain general. It was unheard of, and completely novel. A painting! With oils and hand-crafted hues and paints. If one leaned in, and observed the collection from the side, one could even see the uneven strokes and application of the paints against a canvas. The subject didn't matter, the ursidain was practically unheard of, but his commissioned painted was on loan to the ssypno people for a gallery event, featuring a human artist.

His style was unknown, his methods unorthodox to the point of being unheard of outside of ancient texts that describe using chintian fur brushes.

"Wider? I would say this would be the wrong portrait to observe if we are wanting to check if the human's eye adds inches to the subjects girth!" Tittered the noble, gesturing at the rotund ursidain. Unbeknownst to them, the general had been delighted at his portrait and only at the promise he could have another done, did he relinquish possession of his painting.

The two nobles approached another painting, this one of a member of House Sa'vurn. 'The Promised Daughter', one 'Desh Sa'vurn', the people's favourite.

The two nobles joined a third, a female who was coiled directly in front of it.

"Her eyes are rather alive, don't you think?" The noble asked openly, drawing the two male's attention. It was true, Desh's eyes followed them. One of the males felt judged, as if the people's favourite Sa'vurn had found him wanting, whilst the other found them angry, as she were posed to strike him.

"If you observe each of his subjects, they are all observed in one fashion or another, but it is their eyes where he has put in more detail than other artists." The noble observed.

"Why? I would know more of the subject if her body posture made sense. Her shoulders are back, but her tail coiled? Her hood is flared yet not a dot of heat."

"Of course there's no heat, it is an oil painting." The lady sighed, pointing out the obvious. "We are observing what the human sees."

"No heat? Boring." Moaned the judged male.

"Fascinating I say. We are stripped down to our most basic parts. There is no lying when standing in in front of his easel. He ignores or is blind to our attempts to show our heat, to radiate what we want others to perceive." Extrapolated the lady noble, referencing how almost every single ssypno in the gallery was displaying as much heat as they could in their hoods, to show that they were successful and didn't need to conserve their heat. She frowned as she reached out, only to stop herself from touching the canvas.

"I do wonder why do many portions are left so dark?"

"I can answer that my lady." Came a lyrical voice from behind. The trio of ssypno turned at once and met the eye of an esquinine. He didn't flinch, or close one eyes, but met their gazes without fear in turn.

"I have been privy to the human's art from the beginning, he rented my loft when he arrived on our home world." Explained the long-faced empath.  "The portions that are dark to you, are actually a sea of different colours, but more in the hues of purples and dark blues. I'm afraid these are colours outside of your visual range."

The trio of large serpants turned back to the art and squinted, as if trying to force their vision to focus and draw forth a colour they'd never seen.

"It is one thing to know one has limited visual colours, it is another to stand before what we know is there and be unable to see it." The female noble lamented.

"Ugh, annoying. Why would he paint a ssypno with colours a ssypno can't see? Insulting."

"He paints for his own enjoyment; it just so happens that others consider this art worth money. Amazing than an artist is more creative when they aren't starving." Noted the esquinine before bowing curtly and leaving the ssypno behind. The esquinine meandered through and over the tails that trailed behind the various gallery patrons before slipping into a side down and strutting down a quiet hallway.

He came to a door, pressed his thumb to the reader then stepped inside.

The human was sat watching the screens.

"How's it going?" He asked, nervously nibbling on a nail. The esquinine stepped over and gently slapped the top of the human's hand, reminding him to stop with the nervous habit.

"Well. They still don't quite 'get' it, but then they are the upper crust. Dry and tasteless." Observed the empath, who turned to watch the screens as a crowd of ssypno tried to force their own world view onto art made by a wholly different species with a very different life to them.

"It's fun seeing ignorance get exposed over and over though..." Considered the esqunine, resting his head against a finger.

"Just because I see the world differently..." Mumbled the human, mildly frustrated.

"Galaxy, and I would be quick to point out they love to remind you, that you are smell blind. I think its rather justified to remind them that they are blind to a whole world of colours, no matter how rich they are." Pointed out the alien with a cold tone to the nobles.

"Body mods are a thing." Supplied the young man, considering how they could choose to have different eyes with their money.

"And admit they aren't perfect? They'd have an ice bath first." Came the esquinine's reply, without missing a beat, taking the human by surprise.

The human grinned and couldn't help but smile at the curt and cutting remarks of his closest ally, cheering him up immediately.