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Dressing for Dinner in the Gilded Age

This 19th-century dinner dress captured in the Index of American Design gives us a glimpse of how the wealthy dressed for dinner.

By Einav Rabinovitch-Fox
ARTICLE

Food Art Favorites to Feast Your Eyes On

Feast your eyes on our top 10 favorite food paintings at the National Gallery and download your favorites for free. See still lifes and pop art by Paul Cézanne, James Rosenquist, Robert Seldon Duncanson, and more.

By Alan Manton
INTERACTIVE ARTICLE

Reconsidering Vermeer’s Perfectionism

What can we learn about 17th-century Dutch artist Johannes Vermeer by examining the pigments in his paintings?

By Diane Richard
Shown from about the knees up, a pale, smooth-skinned woman in a fur-lined yellow jacket looks out at us as she sits writing at a table in this vertical painting. The woman’s body faces the table to our left. She turns her head to gaze at us from the corners of her dark gray eyes under faint brows. She has a wide nose, and her pale lips are closed. Her light brown hair is pulled back and held in place with white bows, and gleaming teardrop-shaped pearl earrings dangle from her ears. Her lemon-yellow jacket is trimmed with ermine fur, which is white with black speckles, at the cuffs and down the front opening. A full, elephant-gray skirt falls to the floor beneath the jacket. Both hands rest on the table, and she holds a quill in her right hand, farther from us, on a piece of paper. She leans forward in her wooden chair. The back panel of the chair is covered in black fabric and lined with brass studs. Two gilded finials, carved into lions’ heads, face the woman’s back with mouths open. The table is covered with a celestial-blue cloth crumpled near the left edge of the canvas. On the table are a strand of pearls, a pale yellow ribbon, and a black box with three brown panels studded with pearls around silver keyholes. Two pewter gray vessels are visible just beyond it, in front of a second chair, which faces us. On the putty-gray wall behind the woman, a framed painting hangs in the upper left quadrant of the composition. The painting-within-the painting is done in muted tones of brown and shows a cello and other unidentifiable objects.