plate no. 4342

The White Glove

George Washington Lambert, 1921

oilSymbolismportraitportraitwomanhatglovesfurdress

From the record

Dimensions: 102.7 cm high × 76.7 cm wide
Institution: Art Gallery of New South Wales
Location: Art Gallery of New South Wales
Inception: 1921
Materials: oil paint, canvas

Wikipedia article Wikidata item Q20443459

from the sources

The painting depicts Miss Gladys Neville Collins, daughter of the lawyer and Victorian State Parliamentary draughtsman J.T. Collins. en.wikipedia.org
“The painting depicts Miss Gladys Neville Collins, the daughter of J.T. Collins, lawyer, Victorian State Parliamentary draughtsman, and trustee of the Public Library, Museums and National Gallery of Victoria.”
Lambert posed the sitter in a manner that recalls Joshua Reynolds's Sarah Siddons as the Tragic Muse. en.wikipedia.org
“Lambert posed the subject in a manner suggestive of Joshua Reynolds Sarah Siddons as the Tragic Muse.”
Lambert's lively style differed markedly from the brown tonalist portraiture then fashionable among other Australian portrait painters. en.wikipedia.org
“Lambert's lively work was significantly different from the "prevalent brown tonalist portraiture" in vogue with other Australian portrait painters at the time.”
In a letter to his wife Amy, Lambert called the painting a "wild dashing portrait". en.wikipedia.org
“In a letter to his wife Amy, Lambert described the painting as a "wild dashing portrait".”
The Art Gallery of New South Wales acquired the painting in 1922 for 600 guineas, then the highest price a public gallery had paid for a portrait by an Australian artist. en.wikipedia.org
“The painting was acquired for 600 guineas by the Art Gallery of New South Wales in 1922, at the time the highest price paid by a public gallery for a portrait by an Australian artist.”
The painting is signed and dated at the lower right corner in black oil. artgallery.nsw.gov.au
“Signed and dated l.r. corner, black oil "G.W. Lambert/ (illeg.)21".”
The painting was shown at the British Empire Exhibition at Wembley, which opened in April 1924. artgallery.nsw.gov.au
“British Empire Exhibition (1924) , Empire Stadium, Wembley, 23 Apr 1924-Oct 1925”

study guide

est. 15 hrs

approach — 8 steps

step 01
Sketch the basic proportions and pose of the figure, paying attention to the overall composition.
step 02
Establish the main areas of light and shadow using a thin wash of burnt umber or a similar neutral color.
step 03
Block in the large shapes of the dress, fur, hat, and background with their respective base colors.
step 04
Begin to refine the facial features, focusing on accurate placement and subtle value changes.
step 05
Develop the details of the clothing, paying attention to the folds and textures of the fabric and fur.
step 06
Add highlights and shadows to create depth and dimension in the figure and background.
step 07
Refine the details of the hands and jewelry.
step 08
Add final touches and adjust values as needed to achieve a cohesive and balanced painting.

color palette

primary · ivory black · titanium white · ultramarine blue · burnt umber

secondary · yellow ochre · cadmium red light · raw sienna

Mix blacks and blues with umber to create shadows and depth. Use white and yellow ochre to create highlights on the skin and fur. Mix small amounts of red into skin tones to add warmth.

techniques