Dressing-glass c. 1936

Eugene Croe made this painting, Dressing-glass, using watercolor and graphite on paper. Born in 1855, Croe straddled a period of significant social change, particularly concerning how identity was shaped by societal expectations. The dressing-glass itself is more than a mere object; it is a potent symbol of self-perception and societal expectations, particularly for women. The gaze reflected in its surface is both a personal moment of reflection and a performance of identity, shaped by cultural norms of beauty and femininity. During Croe’s time, women’s roles were narrowly defined, with an intense pressure to conform to ideals of beauty and domesticity. This mirror, then, becomes a stage where women negotiate their identities, caught between personal desires and public expectations. The ornate detailing of the frame suggests an attempt to elevate and perhaps disguise, the complex relationship between the self and its projected image. In viewing this painting, consider how such an object can reflect not just a face, but an entire cultural landscape of aspirations, repressions, and quiet rebellions.