Blue Bowl by John White Alexander Term Paper

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John White Alexander's "Blue Bowl"

American painter John White Alexander produced several full-body portraits of elegantly dressed women in the early Twentieth century, including "The Blue Bowl." Painted with oil, an inherently viscid material, on an imposing canvas four feet long and three feet wide, the "The Blue Bowl" initially seems imposing and heavy. Like the heroine's elaborate gown and her fabric belt, the painting's limited palate imparts some sense of restriction and tightness. However, the woman's active, dancer-like pose, and the painter's use of line, color, and composition collectively impart a rhythmic intensity that makes an otherwise heavy painting dynamic and engaging to the eye.

The Blue Bowl" contains several contrasting formal elements that contribute to its energetic nature. For example, a thick, black background competes with the woman's milky skin. The contrast enables her figure to jump out of the background, giving her lightness and freedom from an otherwise nebulous environment. Moreover, only part of her skin is exposed, from the nape of her neck and her upper back. The skin here is also far brighter than the skin on her hands and face, which remains in shadow. Most of the woman's skin remains concealed beneath the dress; like the contents of the bowl and the atmosphere of the room she graces, the bulk of her body is unseen by the viewer. The floral print dress jumps out of the canvas largely because of its color scheme. Just as her skin contrasts sharply with the dark background, so too does the ivory-colored dress, the piece of furniture she leans on with her left hand, and the background of the titular blue bowl. Furthermore, pale blue flowers visually link the dress with the bowl, which is also decorated with a blue design.

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In fact, both are china-white with blue floral decorations. A darker blue headband and waist cinch complement the blue flowers on her dress and the bowl, stimulating the eye and uniting the formal composition.

The artist's use of line also unites dress with bowl. Both are curvilinear; the bowl's flat top edge gives way to its rounded bottom. Likewise, the woman is posed so that the top portion of her body from her left elbow to her shoulder, neck and head form an almost straight line that parallels both the top of the furniture and the top of the bowl. Furthermore, her billowing dress and its curvilinear ruffles suggest a bowl-like bottom to the woman's form. Two layers of ruffles on her right sleeve are bowl-like in shape. Furthermore, the back neckline of her dress is also curved, creating a bowl shape with the porcelain skin of her upper back. The entire bottom portion of the dress, from the belt down, is like a bowl too. Thus, her entire figure and that of the bowl are similar in composition, color, and line.

The piece of furniture she rests her left hand on contains a straight line leading from the left side of the canvas. The line parallels the flat top edge of the bowl, creating continuity, symmetry, and balance. The entire composition….....

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