RSA Scottish Art
Portrait of Marjory Porter
 | Artist: William George Gillies |
| Title: Portrait of Marjory Porter | |
| Year: c. 1934 | |
| Medium: oil on canvas | |
| Dimensions: | |
| Suggested topic: | |
| Source: RSA | |
| View full screen image of this work | |
| Open print version of this work | |
| © the RSA | |
| Description: William George Gillies was known mainly for his dramatic Scottish landscapes but he also experimented with still life and portraiture. This portrait of Marjorie Porter was very advanced at the time it was painted. Gillies has simplified the overall form of the body, creating a semi-abstract pattern through the arrangement of the limbs against the background. Unusually, they have been cut off by the edge of the painting. This characteristic reminds us of the work of the French painter Marie Laurencin. Gillies has also used a historical reference from Dutch 15th- and 16th-century paintings. At this time, paintings contained symbols and gestures which added meaning to the visual message they were sending out. Marjorie is seen holding a carnation in her hand. This was often used to symbolise a marriage.What do you think the artist is trying to say here?Gillies has used a palette of warm colours, pinks, reds and creams which could be used to describe her character. These colours may have been used by Gillies to suggest femininity and affection. Compositionally, the eye is led around the painting through the placing of the hands and elbows which then lead to the head. The dark brown hair acts as a focus for her face. Although the form of the body is quite flat, Gillies has put more emphasis and detail into the painting of her head and face. Her expression shows a kind of longing as though she is dreaming about something. Portraits can be painted to show a likeness of a person and/or their character. Which of these do you think applies to this portrait? | |
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