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Painted in 1917, a decade later, Benson's Natalie(Plate 8) conveys a young woman with a greater rangeof possibilities open to her. In contrast to the decorative gown worn byDorothy Lincoln, Natalie Thayer wears a simple white shirt and skirt. Herhat is a practical shield from the sun, whose light just touches her nose,chin, and neck and floods her blouse. Her bearing implies a level of independencenot evident in the Lincoln portrait. The difference between the two canvasesstems in part from the changing roles that women were adopting at the beginningof the twentieth century and in part from the circumstances under whichthe images were created. Whereas Dorothy Lincoln makes a social statementabout a newly marriageable woman, Natalie portrays a woman dressedto ride a horse.[62] A final differenceis that Dorothy sat for her portrait in Benson's Boston studio, while Nataliewas painted outdoors during a vacation near the Grand Teton Mountains in Wyoming.[63]
Benson's children were his favorite subjects, and he oftenpainted them outdoors at their summer home in North Haven, Maine. The brightsunlight allowed him to make his subjects sparkle with light and color.He typically animated the girls' white dresses with long, curling strokesof peach, blue, lavender, and green, as in Portrait of My Daughtersand The Reader. The former picture was among his most celebrated,earning the Temple Gold Medal at the Pennsylvania Academy of the Fine Artsin 1908. Critics lavished praise on the painting for emanating \"suchan impression of vibrating atmosphere, such a feeling of freedom, joyand wholesome stimulation of vitality.\"[64] In short, the Impressionist's brushstroke and attention to lightand atmosphere were well suited to communicating the desired energy of theAmerican Girl. Eleanor Benson also posed for The Reader. Light floodsthe young woman's hair and falls more gently over her body, as it is filteredby the parasol. Her engagement with the book she is reading is undisturbed.In The Reader Eleanor is placed in a garden; perhaps this is a referenceto the hortus conclusus theme of the solitary Virgin in the enclosedgarden. In Christian iconography the enclosed garden signifies Mary's virginityand her invulnerability to Satan's temptations.[65]Whether or not Benson intended so specific a referencein this painting, contemporary viewers perceived his female sitters in generalas exemplars of innocence and reserve. One critic noted \"the wholesomenessof his art\" and applauded \"the beauty of girlhood, its grace,its purity, its charm.\"[66]Another contrasted the \"choice reserve\" of Benson's female subjectswith the \"extravagant and conscienceless living\" rampant \"inour big cities.\"[67]
American Impressionists also represented women sensually,and nude subjects were not uncommon. Tarbell's The Venetian Blind(Plate 41) demonstrates that light and atmosphere could contribute to thetactile richness of a nude. The pose Tarbell selected is modest, and hispreparatory oil sketch (Plate 40) demonstrates that he ultimately drapedmore of the figure than he had first intended. His choice of title assertedthat the painting was a study in particular lighting conditions rather thanall expression of female sexuality. Of course, these choices may have beenmade in deference to the prevailing conservatism of American audiences.Indeed, when the painting was first exhibited in Worcester in 1902, onereviewer noted that \"Studies of the nude and semi-nude are in the minorityand the lack was not lamented.\"[68] Largely positive criticism of The Venetian Blind focusedon the painting as a technical accomplishment. \"Here is technical fluency,\"one critic declared. \"Here is nervous force put at the service of ataking pictorial idea.\"[69] Thepainter and critic Philip Hale went even further, proclaiming the canvas\"the best picture that has been done in America.\"[70] Less common, though at least as sensual,were American Impressionist images of male nudes. In The Bathers(Plate 36), John Singer Sargent uses water to make the flesh glisten andlight to set the muscular bodies into beautiful relief. Sargent's posesand the outdoor setting also accord a greater degree of physical freedomto these male subjects than Tarbell allowed the woman in his oil painting.
Portraits of mature women, such as Benson's Portraitof a Lady (Edith Perley Kinnicutt) (Plate 4) and Sargent's Mrs. GardinerGreene Hammond (Esther Fiske Hammond) (Plate 33), emphasized their statureand character. Both women are portrayed as physically attractive, thoughneither is presented as an ideal beauty. Their dresses, like those of mostof the younger women painted by the American Impressionists, are ornamental.Mrs. Kinnicutt wears a lushly painted gauzy gown with beads suspended froma shawl. Mrs. Hammond's costume is accented by a transparent fichu, blackribbon, and a single strand of pearls. As in his portrait of Dorothy Lincoln,Benson sets Edith Kinnicutt outdoors. However, in place of the summer lightand verdant setting he used for the younger woman, Benson here employs agolden, autumnal palette to correspond with Kinnicutt's more advanced age.Her upright posture conveys a moral strength that is reinforced by the seriousnessof her partly shaded countenance. By contrast, Sargent's half-length portrayalof Esther Fiske Hammond brings her forward in the picture plane, makingher more accessible to the viewer. She has a gentle expression and her headtips slightly toward us, lending her a relatively casual air. Mrs. Hammondplays the young wife and perhaps gracious hostess, while Mrs. Kinnicuttrepresents a more matronly social position. 59ce067264
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