I like the pose. I loathe the light blue background. I don't like the the artist's coloring of the First Lady -- it's too grayish, and the execution of the face doesn't convey Michele Obama's mature attractiveness. The dress takes up way too much space.
↪charleton Noooo, the flourish of color from the dress is what makes the portrait. That re-framing also messes with the rule of thirds. — StreetlightX
That one of Jackie strikes me as rather creepy, for example. She looks like nightmarish, ghastly doll. — Ciceronianus the White
If the purpose of portraiture is to create a physical likeness of a person, that of Michelle Obama probably doesn't meet that purpose — Ciceronianus the White
They are characterized by sharply defined forms, neatly organized compositions with clearly defined spatial arrangements, some with an almost mathematical precision and symmetry, generalized lighting, equal attention paid to all areas of the canvas, an absence of expressive brushwork, and an overall flatness and linearity. A current, compelling theory about the look of folk portraits is that they matched the face of the neatly and geometrically farmed agrarian landscape. In any case, it is important to recognize that folk artists worked according to criteria set by their rural clientele. As a group, the portraits describe socially reticent sitters eager to record a likeness but shy of declaring personality and emotion. Elements of pride and class status are apparent but circumspect. Portraits record lasting traits and conditions (some are even memorials to the dead), rather than transitory mannerisms and situations.
Mrs. Obama wore a gown by Milly that featured a geometric print. “It reminded me of the Dutch artist Piet Mondrian’s geometric paintings,” said Sherald. “But Milly’s dress also reminds me of the quilt masterpieces made by the women of Gee’s Bend, a small black community in Alabama.”
Like a debutante on a skin-flick set facing her first moneyshot — Akanthinos
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