Drawing
Museums of Mississauga
Tous droits réservés.
| Nom de l'objet : | Drawing |
| Matériaux : | paper, ink, paint |
| Numéro d'accession : | BE2009.1.210.14 |
| Date de début de production : | 1920 |
| Date de fin de production : | 1930 |
| Description : | A fashion illustration or fashion plate drawn on thin tissue paper. The paper is light brown in colour; the drawing in black ink coloured with watercolours. The drawing features a front and black view of a brown dress with a pattern of white flowers. The dress has a corded skirt which has a shorter overskirt visible at the back. The dress has white collar and cuffs. |
| Fonctions : | Fashion plates such as these were usually distributed with fashion magazines such Vogue or Harper's Bazaar. "Fashion plates are small printed images, often hand-colored, of people wearing the latest fashions and depicted in conventional minimally narrative social contexts. They flourished from the late eighteenth to the early twentieth centuries, and were usually distributed with fashion magazines either as integral parts of the editorial content or as supplementary plates. The poet Charles Beaudelaire, in his essay The Painter of Modern Life, described fashion plates as an image of the "ideal self and thus a reflection of the artistic, historical, moral, and aesthetic feeling of their time. He wrote in 1863, when fashion plates were reaching a peak in their development. Although the basic purpose of the fashion plate was to illustrate new styles and sell more clothes, their charm gives them an established place among the minor graphic arts." _http://angelasancartier.net/fashion-plates_ "People attractively or unusually dressed have been popular graphic subjects at least since the sixteenth century, when the Costume Book or Trachtenbuch brought them into popular publishing. The late eighteenth and early nineteenth centuries saw a publishing boom that stimulated the flow of fashion illustrations. Despite the Revolution and the Napoleonic wars, French plates continued to dominate the market, though equally fine examples were produced in England and Germany. By the mid-nineteenth century, with the expansion of popular and pictorial publishing as well as the clothing trade, the fashion plate proliferated. To satisfy demand, engraving establishments, especially in Britain and Germany, provided type images easily grouped and amended for the cheaper fashion and advertising market. The male fashion figure largely disappeared from fashion plates at this time; however arranged and accessorized, he lacked the vivacity of fashionable men as drawn by Paul Gavarni and the Vernets."_http://angelasancartier.net/fashion-plates_ |
| Établissement : |
Museums of Mississauga
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| Ville de l'établissement : | Mississauga |
| Province de l'établissement : | Ontario |
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