Painted with thick, rapidly-applied brushstrokes and heavy contrasts of lights and darks, Portrait of Florence Pierce creates a moody, introspective representation of the sitter. Set in a dark interior, one half of the woman’s face is consumed by shadow, while the other half reflects a harsh, white light. The juxtaposition of light and shadow hides half of her facial features while exaggerating her heavy eye lid and the sharp creases under her left eye. Despite its contradictions and ambiguities, this portrait is an example of the compositional and stylistic experimentation of George Bellows, who combined the ideas of modern European art with the emerging identity of “American” art in the early 20th century.
The intense cobalt blue used in the sitter’s dress creates a strong contrast to the paleness of the sitter’s skin. The yellow, green, and deep purple vertical stripes that emerge from the blackness of shadow do not reveal any facts about the woman’s setting and instead add to the ambiguous tone of the work. A feeling of remote distance is furthered by a lack of setting and the figure’s alert and direct stare, ridged composure, and faint, tight smile. The blocky, geometric composition and flat plane of cool colors further makes the subject appear tired or frail.
Little is known about Bellows’ sitter, Florence (“Flossie”) Pierce; this portrait, unlike more traditional portraits that reveal sitters’ personality or social standing, does not tell viewers much. She was the daughter of a lighthouse keeper and a resident of Monhegan Island, Maine—where Bellows also stayed during the summer of 1914. Although the painting does not provide many concrete details about her personality or social standing, what historians do know about her is loosely represented here. The intense lighting is reminiscent of lighthouse beams. In addition, the sense of isolation may represent the loneliness of island life.
Bellows’ experimental execution may have been influenced by his assistance with and viewing of the New York Armory Show a year earlier. This groundbreaking exhibition, which brought works from the great European modernists to America for the first time, shocked audiences and stimulated artists. This portrait’s bright blocks of color, strong frontal lighting, geometric composition, and flatness are all influenced by this new modern style.
With a keen eye and a modern flare, Bellows made a name for himself by realistically painting American life during the early 20th century in New York City as a member of the Ashcan school, a group of artists that aimed to portray the gritty difficulties of contemporary urban life with vigor and honesty.
