Sara Norton (1884). Edward Burne-Jones (English, 1833-1898). Oil on canvas. Historic New England.

Half-length portrait of Norton as a young woman in profile facing right, holding a violin. Norton was at the center of New England’s privileged class, the kind of Bostonian equally at home in drawing rooms on either side of the Atlantic. Burne-Jones painted this portrait for Sara’s father, Charles Eliot Norton, a Harvard humanities professor, editor of North American Review, founder of the Nation, and frequent contributor to the Atlantic Monthly.

#Fashion Friday

Studio full body portrait of unidentified young woman in profile, holding rose, wearing ruffled Victorian dress with lace accents. Stamped on front: “Wilkinson, Detroit." 

  • Courtesy of the Burton Historical Collection, Detroit Public Library

Pablo Picasso - Portrait of Dora Maar [1937] by Gandalf
Via Flickr:
A new woman came into Picasso’s life in 1936, a young Yugoslavian photographer, Dora Maar, whose real name was Dora Markovic. She was a friend of the poet Paul Eluard, frequented Surrealist circles, and spoke Spanish. In Portrait of Dora Maar, 1937, Dora Maar is represented majestically seated in an armchair, smiling and resting her head on a long-fingered hand. The face is shown in a combined frontal and profile view, with a red eye and a green eye facing in different directions. For many people, these deformations are the very hallmark of Picasso’s art. Yet, despite the distortions, or perhaps even because of them, Picasso achieved a striking resemblance that could be said to be ‘truer than life.’ The deformations primarily serve an expressive purpose: the idea is less to remake reality than to express its possibilities, to capture all the aspects of the sitter. [Musée National Picasso, Paris - Oil on canvas, 36 ¼ x 25 9/16 inches]

A Girl Reading, probably Florence Carter Wood (later Mrs Alfred Munnings). Dame Laura Knight, R.A., R.W.S. (English, 1877-1970). Pencil and watercolour heightened with bodycolour and with scratching out on paper.

A young woman, in profile, is reading a letter in a sunlit landscape; she wears a white blouse and her auburn hair is pinned under a broad-brimmed straw hat, its red ribbon falling over her left shoulder. Spots of sunlight piercing through the weave of the hat fall on to her face.


Pablo Picasso 
(Spanish, Malaga 1881–1973 Mougins, France )

Date: 1927 Medium: Oil on canvas Dimensions: 32 x 25 5/8in. (81.3 x 65.1cm)  

Metropolitan Museum of Art:

The presence of Harlequin in this enigmatic picture-signaled by the bicorne hat and the lozenges at lower right-identifies this work as a self-portrait, for Harlequin was the artist’s known alter ego. At the left margin, Picasso painted the shadow of his own profile, as if he were observing the disorientation of Harlequin and, by extension, himself. When he painted the picture, Picasso felt he was trapped in a failed marriage, the victim of his mentally unstable wife, Olga Kokhlova. He had already met the young woman who would become his lover, Marie-Thérèse Walter.