The Purple Shawl 

Editor: Lilla Cabot Perry's "The Purple Shawl," painted in oil with an Impressionistic style, offers an intimate look at the sitter. There’s something really compelling about the focus on color and the somewhat muted quality of the light. What do you see when you look at it? Curator: I see a deliberate construction of form through color and texture. Note how the purple shawl isn't just purple, but a constellation of mauves, pinks, and lavenders, defining its shape and volume. It is rendered through careful manipulation of light. Consider, also, the directionality of the brushstrokes; how do they guide the eye? Editor: The brushstrokes definitely emphasize the draping of the shawl. It gives it a real sense of movement, almost like it’s caught mid-motion. What’s the impact of using this texture rather than a smooth surface? Curator: Precisely. The broken brushwork avoids illusionism, and insists on the materiality of paint. The surface calls attention to its own existence as an object. Perry is less interested in rendering a photographic likeness than in exploring the potential of her medium. Does the subdued palette affect your reading? Editor: It does. It lends a calm, contemplative feeling. There aren’t any jarring contrasts. Everything feels very balanced, harmonious even. Curator: Balance and harmony are key. The subtle gradations within the color fields create depth without relying on traditional modeling. This challenges conventional notions of representation. The power of the artwork comes from the delicate color transitions and textural contrasts of oil paints. Editor: That makes so much sense. Looking at the painting that way has definitely given me a fresh appreciation for the artist’s intentions. Curator: And for me, reflecting on this artwork reinforces the importance of direct sensory experience as the cornerstone for knowledge.