w.q. orchardson research fun question on pictorial storytelling

[lobelia321]

Some of you know that I'm writing a book on visual narrative. And next week I start teaching a module on the topic of my book. So this is the exercise I'm going to give the students as homework for their first week, and I thought I'd let you in on it and shamelessly syphon off your ideas and thoughts. If you want. :-)



This is a 19th-century painting by the Scottish artist W.Q. Orchardson. It's called Mariage de Convenance. And that's all I'm going to tell you about it. Because I want to see how much you (as lay people who know nothing about this -- and I assume you know nothing; if you do know something, you can't join in, I'm afraid, *gg*) can tell about this picture without any further explanation.

I want to see how successful the artist has been at conveying his story without words (except for the words in the picture's title). So: what do you think is going on here? I would be really interested in your responses, whether in tig-form or note-form or fic-form or whatever-form.



Sorry it's in black-and-white. In a way, it's more authentic because that's how 19th-C. audiences would have encountered it unless they had managed to view the original.

Comments

[calicokat.livejournal.com]

It looks to me like the older man is proposing to the younger woman after having invited her to dinner and has just made his pitch as to how benificial the marriage would be to both of them. He is looking at her intently as she considers her other options and the reason of his words, the butler seems to be giving the woman time to think by offering a slight distraction to what would otherwise be a pregnant silence. For some reason I want to think they're British people living in India despite the title not being English, but I have no idea why that thought strikes me. I suppose if they were the woman might not have as many other options as she would back home, and perhaps her family fortune is beginning to run out but she has a famous name and the man is offering to marry her and save her family's estate.

[qthelights.livejournal.com]

what do I think is going on here?

"life"

*g*

[yellow-oranges.livejournal.com]

Well I know nothing and I'm about to prove it. Think I'll try it in short fic form.

She realized that the comforts of life did little to ease the heaviness of one's heart. Basil had lured her with fine furs, rich gowns and jewels, outings to balls and operas. When he had asked for her hand, she had giddily accepted, expecting the marriage to be an extension of the courtship. It hadn't taken long once she was ensconced in the house for Basil to simply return to his regular life, relieved to no longer work so hard.

The dinners were the hardest for her. Imagining the glitter and swirl of the social lives going on in the city, she felt left out, bored and utterly useless. Was there a finer torture than carefully dressing for dinner, then being summarily ignored at the far end of the table? No guests, no music, no conversation--simply watching Basil carry on eating and interacting with his true companion, the butler.

Re:

[sheldrake.livejournal.com]

Ahahaha! Go QQ! :)

Re:

[yellow-oranges.livejournal.com]

Thanks shel! ;)

[cherry-glitter.livejournal.com]

He's old and rich and oblivious, she's young and beautiful and bored. He seems completely comfortable - he's the one getting attention from the servant (implying that it's his money and his house), while she, as the outsider, isn't even eating. She's also doing as much as she can to distance herself from the scene. She's separated from them not only by the length of the table, but also because she's pushed her chair back as far as it will go. But I don't get the feeling she's about to storm out in a huff - the whole image has a static feel. Like this has happened before and will happen again.

Two people who don't particularly like each other but who also don't hate each other. Resigned.

I'd say he got the better end of the bargain.

[sheldrake.livejournal.com]

*zips mouth*

because you told me all about it on the train.

[bunnysquee.livejournal.com]

ooo ... a guessing game!

let's see, a father disallowing his daughter to marry the person she loves? hence, the negative body language of arm across stomach and head resting on hand thing.

[eyebrowofdoom.livejournal.com]

I see them as married, an old rich (arguably, lecherous) fellow and his flighty young (arguably, gold-digging) arm ornament. He's displeased with or suspicious of her, and he's asking or demanding something from her, and she doesn't especially want to answer.

Or when I look at it again, it could be he's just trying to make conversation in that overbearing way of funny old fellows, and she's feeling put-upon at the topic and his manner. But that's a second impression.

[titilayo.livejournal.com]

My remarks are a bit late, but I thought I'd give it a try anyway.

The young woman and the older man are husband and wife. He is a wealthy man (because the house appears large) and a good match for her in the financial sense. She doesn't really like him very much, although he is not a bad and she wishes for younger, more vibrant company to entertain her and offer her exciting diversions. Her husband is not very social, doesn't pay much attention to aesthetics. She thinks he is boring. She is a little resentful of him and of having been obliged to marry him, but most of all she is bored. (All this indicated by the body language previous commenters have mentioned.) He, on the other hand, is quite fond of her and behaves very solicitously to her. He knows that she is unhappy, and is trying to make her happier, but is not succeeding. (He seems to be leaning in towards her and it looks to me like he has a look of concern of his face). The servant has been with the household for some time, he thinks that the young wife is an ungrateful wench, and is trying to make his master feel better by being especially prompt and careful with the table service (the things on the table are sort of crowded towards the man's end).

Hmm.