Belle 2010

Editor: This is Bo Bartlett’s “Belle” from 2010, an oil painting of a woman in a bright yellow dress set against a wispy sky. The realism gives it a contemporary feel, and yet there’s something very classic about it as well. What strikes me is the woman’s gaze; it's very direct, very self-possessed. What do you see in this piece? Curator: What immediately comes to mind is how Bartlett positions “Belle” within a larger art historical dialogue. It looks traditional, yes, with that direct gaze evoking historical portraiture, but its public function differs greatly from earlier examples. Traditionally, portraits of women were often commissioned to signify status, lineage, and to perpetuate ideals of beauty dictated by the patriarchy. Editor: Right, a display of wealth and societal standing. Curator: Exactly. So how does Bartlett, a contemporary artist, play with or subvert those loaded traditions? Her modern dress places this firmly in our era, signaling a different societal position. The simple, open neckline feels much more relaxed, more ‘everyday,’ less controlled. What do you think that does? Editor: I see what you mean. The artist chooses to strip the setting to the minimal, the only adornment being a very simple necklace. I also wonder how we, as viewers, are implicated in this exchange, standing right in her direct line of sight. Curator: Good question. It forces us to confront ourselves, as viewers. Is the intent of a painting such as this one still meant to create an idea of idealized beauty, or something else? And, furthermore, how might the distribution of her image through digital spaces further transform our understanding of female portraiture today? Editor: I see. I never thought about how digital access impacts historical portraiture’s meaning. Curator: Precisely. Art doesn’t exist in a vacuum. Exploring those historical and societal undercurrents can enrich our understanding and appreciation. It certainly shifted mine! Editor: Absolutely! Now I will see portraits with a different eye.