A Scene from Taste Robert Smirke (1752-1845)

The composition presents a seated woman in what appears to be a formal portrait. She occupies nearly the entire frame, positioned centrally against a dark, indistinct backdrop that suggests a draped curtain or wall. The setting is devoid of specific details, directing focus entirely onto the subject and her elaborate attire.
Here we see a figure characterized by an exaggerated physicality. Her face displays a pronounced double chin and fleshy cheeks, rendered with a degree of unflattering realism. The expression seems to be one of self-satisfaction or perhaps even smugness, conveyed through a slight upward curve of the lips and a fixed gaze directed towards the viewer.
The woman’s clothing is exceptionally ornate. A voluminous gown in pale hues cascades around her form, its folds meticulously detailed. Her sleeves are puffed and gathered at the wrist, revealing glimpses of what appears to be lace or delicate fabric. Around her neck, a string of pearls adorns her chest, adding to the impression of wealth and status. The most striking element is undoubtedly the towering headdress – an architectural construction of feathers, flowers, and ribbons that dwarfs her head and further emphasizes her imposing presence.
The artist’s handling of light contributes significantly to the overall effect. A soft, diffused illumination falls upon the woman, highlighting the textures of her clothing and skin while leaving the background in shadow. This contrast serves to isolate the subject and intensify the sense of theatricality. The brushwork appears loose and somewhat hurried, particularly noticeable in the rendering of the drapery, suggesting a rapid execution or perhaps an intentional stylistic choice aimed at capturing a fleeting moment.
Subtly, the painting conveys a critique of societal values, specifically those related to appearance and status. The woman’s exaggerated features and ostentatious display of wealth seem less celebratory than satirical. The artist appears to be commenting on the excesses of the era, using caricature to expose the absurdity of prioritizing superficiality over substance. The overall impression is one of ironic observation, suggesting a critical perspective on the conventions of portraiture and the social hierarchies it often reinforced.