ALLEGORICAL PAINTING of TWO LADIES, English School
An Allegory may be a story, poem or picture that contains either a political, or moral message. The unknown artist of the ca. 1650 British painting Allegorical Painting of Two Ladies presents us with messages focusing on modesty, and on ethnic equality.
The oil painting (640 x 750 mm), in the style of the English School was bought last month by the English manor and parish Compton Verney. It features two similarly dressed ladies, one black, one white. Positioned next to each other almost as reflections, they both appear to be wearing a single strand of pearls. Their dresses are made of similar material, with both having (as was the period’s fashion) voluminous sleeves. Identified differences include the color and style of the women’s hair, along with the color of their dresses. While the white woman’s hands are not seen, the black woman’s right hand is lifted between the two women, almost gesturing to the woman next to her. In addition, the black woman is wearing earrings, and even though the white woman isn’t, a pink ribbon is seen in her hair. The painting’s background is dark brown. The shade appears to be the same as that used for the black woman’s skin. It’s not known if the artist chose to paint her skin and the background the same color out of necessity, or by choice. This brings to mind Manet’s Olympia, the 1863 oil painting which features the main subject “Olympia” and her maid who almost visually disappears into the painting’s background. However, what commands the viewer’s attention are the tiny white and black patches adorning the black and white women’s faces respectively.
Shaped as crescents, spinning wheels and rectangles, these patches, known as “Beauty patches,” were extremely popular in the 17th and 18th centuries. Worn by both men and women, beauty patches covered blemishes and, though available in a variety of colors, dark and black patches were used to highlight the whiteness of the wearer’s skin. Even though these patches were desired by those in all levels of society, there were those who also looked down on the patches, declaring they promoted the sin of vanity. To this point above the women’s heads, though not easily seen, is an inscription which reads: ‘I black with white bespott: y u white wth blacke this Evill: proceeds from thy proud hart: then take her: Devill:’ The painting’s initial message can be said to directly denounce the wearing of patches as a vain and haughty practice that ultimately leads to hell, while indirectly lifting up a call for modesty.
Further analysis reveals the second message in the relation of the two women to each other. Both are adults, appearing to be of similar age. Visually, they are social equals. Which is remarkable as in the 17th century images of Black people (if they appeared at all) were pictured as either children, or as humble servants. It also isn’t known whether or not the artist created the painting under the direction of a patron, or as a result of the artist’s personal beliefs. Acting as a ‘narrator’ is the artist a visionary, or dreamer envisioning the period’s zeitgeist as it should be?
This painting bolsters the present-day debate surrounding the rights of Black people and the value of our lives in the midst of ongoing institutionalized and systemic racism. Refreshingly, Allegorical Painting of Two Ladies… provokes thought regarding the reality of blacks’ societal position throughout history. Question: Are blacks, and people of color, to simply blend into the background; or, do we command our space, wherever the world’s stage takes us?
References:
Statement of the Expert Adviser to the Secretary of State that the painting meets Waverley criterion three. RCEWA – Allegorical Painting of Two Ladies, English School, circa 1650. Accessed July 1, 2023. https://www.artscouncil.org.uk/sites/default/files/download-file/EA%20statement_2%20ladies.pdf
Hair & Makeup Artist Handbook, “Beauty Patches,” updated 17 May 2021. Accessed July 7, 2023. https://hair-and-makeup-artist.com/beauty-patches/
