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Carrie Mae Weems, The Kitchen Table Series: Untitled (Woman and Daughter with Makeup), 1953, America, Platinum Print, Image: 38.1 x 38.1 cm (15 x 15 in.); Paper: 50.8 x 50.8 cm (20 x 20 in.), Cleveland Museum of Art

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François Boucher, Pompadour at Her Toilette (Formerly Jeanne-Antoinette Poisson, Marquise de Pompadour), 1750, France, Oil on Canvas, 81.2 × 64.9 cm (31 15/16 × 25 9/16 in.)
frame: 99.8 x 84.5 cm (39 5/16 x 33 1/4 in.), Harvard Art Museums/Fogg Museum

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Tsukioka Yoshitoshi, Geisha Blackening Teeth at 1:00 p.m (or 午後一時) from the series Twenty-four Hours in Shinbashi and Yanagibashi, 1880, Japan, Woodblock Print, Image: 13 3/16 × 9 1/16 in. (33.5 × 23.02 cm) Sheet: 14 1/2 × 9 3/4 in. (36.83 × 24.77 cm), Los Angeles County Museum of Art, Herbert R. Cole Collection (M.84.31.68)

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Kohl tube and stick, ca. 1550–1458 B.C. E., Egypt. Wood, ebony, ivory, copper, H. 7.8 cm (3 1/16 in.). Metropolitan Museum of Art.

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Thomas Rowlandson, Six Stages of Mending a Face, Dedicated with respect to the Right Hob-ble. Lady Archer, 1792, Britain, Etching, Sheet: 11 3/16 in. × 16 in. (28.4 × 40.6 cm) Plate: 10 7/8 × 14 15/16 in. (27.7 × 38 cm), Metropolitan Museum of Art.

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Marr, Kathryn Rebecca. “MIRRORS OF MODERNITY, REPOSITORIES OF TRADITION: CONCEPTIONS OF JAPANESE FEMININE BEAUTY FROM THE SEVENTEENTH TO THE EARLY TWENTIETH CENTURY.” University of Canterbury, 2015.

“Cultural History of Cosmetics | 日本化粧品工業会.” Accessed May 2, 2025. https://www.jcia.org/en/info/history.

El-Kilany, Engy. “Facial Cosmetics in Ancient Egypt By.” Accessed May 2, 2025. https://www.academia.edu/33510332/Facial_Cosmetics_in_Ancient_Egypt_By.

Hyde, Melissa. “The ‘Makeup’ of the Marquise: Boucher’s Portrait of Pompadour at Her Toilette.” The Art Bulletin 82, no. 3 (September 1, 2000): 453–75. https://doi.org/10.1080/00043079.2000.10786945.

“The Kitchen Table Series: Untitled (Woman and Daughter with Makeup) | Cleveland Museum of Art.” Accessed May 2, 2025. https://www.clevelandart.org/art/2008.116.12.

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Boucher calls to attention the self-curated nature of makeup in depicting Madame de Pompadeur, a friend of King Louis XV, painting herself at her public toilette by drawing similarity between the painted nature of the work and the painting of makeup–calling into question who the “artist” of her beauty is. His soft coloring, especially of pinks, was criticized for its similarity to cosmetics and for being “too feminine.”

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Weems created the Kitchen Table Series by showcasing a fictional drama featuring the relationships of motherhood, friendship, and romance with a central female character played by herself. It is a curated image of an authentic fictional life.

The mother and daughter here are shown mirroring each other in their movements, positioning, and even the items they are using, suggesting a continuation or carrying on of a shared use of makeup.

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As you explore, keep these ideas in mind:

1. How do issues such as gender and social class interact with the purpose or purposes of using makeup?

2. How does makeup play into rituals or traditions of beauty, self presentation, and identity?

3. How does the appearance of these works reflect the perception of makeup and the perception of its users?