Victorian Fashion Rules: Riding in a Carriage
For driving in a handsome private carriage through the streets of a large city, or in the fashionable Park, the most elaborate out- door costume is expected. Richest silk, velvet, and lace, are all appropriate, and elaborate style and trimming are allowable. In summer, light, thin goods, shawls of white or black lace, dainty lace bonnets, gloves of light-colored kid, light, dressy boots, collars and cuffs of fine lace, and jewelry that is rich and tasteful, are all strictly appropriate for the full dress drive, while in cooler weath- er, the white velvet sacque, black velvet cloak, or rich wrap of any material may be worn. – The Art of Dressing Well
Ludwig Passini (Austrian, active in Italy, 1832-1903) • The Carriage Ride • Unknown date
Jean Béraud (French, 1849-1935) • Nous Rentrons! (We're Going Back!) • Late 19th century
Sources:
Frost, S. Annie (1870) . Outdoor Dresses - Riding . The Art of Dressing Well. A Complete Guide to Economy, Style and Propriety of Costume (p. 52) . Dick & Fitzgerald . https://www.loc.gov/resource/gdcmassbookdig.artofdressingwel00fros/?sp=9&st=image&r=-0.246,-0.037,1.397,1.627,0
Pinterest
Wikipedia
17 notes
·
View notes
Masked Ball at the Opera, Paris, Henri Gervex, 1886
399 notes
·
View notes
Gustave Courbet (French, 1819-1877)
Tête de chamoiss (Head of a Chamois), n.d. [19th c.]
oil on canvas, 38 x 46 cm
Musée Picasso Paris MP2017-16
100 notes
·
View notes
Georges Clairin (French, 1843-1919)
Portrait de Sarah Bernhardt, 1876, Petit Palais
28 notes
·
View notes
James Tissot (French) • The Ball, later renamed Evening • 1878 • Musée d'Orsay
James Tissot is known for painting elegant beautiful society women attired in the latest Paris fashions. He was also known to alter some details of a particular outfit by painting in his own flourishes to suit his taste and enhance the over-all portrait. He was criticized for this habit but it was undeniable that fashion designers of the time were paying attention. In this way, Tissot was a fashion influencer of high Victorian society.
It's only natural that Tissot was interested in the attire of his well-to-do patrons. His father was a fabric merchant and marchand "de nouveautés"(seller of the latest dress items). He grew up among the very materials he would later paint. This duality suited him well, as he was one of the most successful genre and portrait painters of his time.
Some of the criticisms aimed at Tissot from the fashion world included inappropriate accessories – the hat in the above painting, for example, was not appropriate as evening wear, some claimed. Others were that Tissot's necklines and overly flounced, pleated skirting were outdated. It is believed that Tissot chose certain details and features of the costume to showcase his painting abilities. All things considered, a critic for L’Artiste magazine stated:
"Our industrial and artistic creations may perish our customs and our costumes may fall into oblivion, a painting by Mr. Tissot will be enough for the archaeologists of the future to reconstruct our era."
67 notes
·
View notes
Rue Saint-Honoré in the Afternoon, Rain Effect, Camille Pissarro, 1897
Oil on canvas
81 x 65 cm (31.89 x 25.59 in.)
Museo Nacional Thyssen-Bornemisza, Madrid, Spain
52 notes
·
View notes
‘The Harem's Gate, Souvenir of Cairo (1876)’ — Jean-Jules-Antoine Lecomte du Nouÿ (French, 1842-1923), oil on canvas, 75 x 130,5 cm ; 29 1/2 x 51 3/8 in.
106 notes
·
View notes