•Unlikely place for a woman

•Humiliating ritual

•Modesty

•Hint at a crime

The Last Toilet of Charlotte Corday by E.M Ward

c.1869, in London

The assassin of Jean-Paul Marat, a French Revolutionary journalist (1793)

The French Revolution, 1789-1799

e.g. about Charlotte Corday, Jean-Paul Marat, the Revolution in general, this execution in particular, women’s representations in art, Corday’s representations, etc.

     Press. Available at http://www.oxforddnb.com/view/article/28683 (Accessed: 1 June 2016).

Croker, J.W. (1853) History of the Guillotine. London: J. Murray.

Gelbart, N.R. (2004) ‘The Blonding of Charlotte Corday’. Eighteenth-century studies 38.1, pp.201-221.

Gullickson, G.L. (2014) ‘Militant Women: representations of Charlotte Corday, Louise Michel and Emmeline Pankhurst’. 

     Women’s History Review 23.6, pp.837-852.

Hilger, S. (2010) ‘The Murderess on Stage: Christine Westphalen’s Charlotte Corday (1804)’. In: Bielby, C. and Richards, A., 

     eds., Women and Death 3: Women's Representations of Death in German Culture Since 1500. New York: Camden House.

Kindleberger, E.R. (1994) ‘Charlotte Corday in text and image: A case study in the French Revolution and women's  

     history’. French Historical Studies, pp.969-999.

Korshak, Y. (1987) ‘The Liberty cap as a revolutionary symbol in America and France’. Smithsonian Studies in American

     Art 1.2, pp.53-69.

Ward, E.M. (1869) ‘The Last Toilet of Charlotte Corday’ [engraving]. London. British Museum Collection Online. Available at 

     http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx  (Accessed: 1 June 2016).

Yarrington, A. and Everest, K. eds. (1993) Reflections of Revolution: Images of Romanticism. London and New York:

     Routledge.

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• Does the sculpture visually lead the viewer to move around it and view it from different angles, or does it seem to guide the viewer to one position?

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•What materials are used? 

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•How do they contribute to the work’s form? Do the materials make open spaces within the sculpture possible, or do they require a more blocklike form?

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•Does the sculpture emphasize a sense of volume, of three- dimensional form or of flatness?

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•Does this emphasize the three-dimensional form or flatness? Does it create a sense of drama or movement?

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•If the surface of the sculpture is coloured, how does that affect the viewer’s perception of the work? 

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•Does colour serve to emphasize certain features of the work? Does it make the work seem more or less three-dimensional?

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•What is the texture of the surface? Is it smooth or rough, dull or shiny?

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•Are colours saturated? 

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•Where are the brightest colours? The darkest colours? 

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•Is there a wide range of colours or a narrow range of colours? 

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•Do the colours contrast or blend? 

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•Do the colours create a sense of calm or a sense of drama and excitement? 

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•Are they used to emphasize certain forms or elements in the work?

Gabriel GP

 

The viewpoint suggested is being held in palm or folded up and laid on the side.

The viewer would examine the shape, and the delicate enamel on the handle, it encourages the viewer to look at how it sits in one’s hand.

Silver and Enamel.

The materials allow the enamel to rest where the silver would be, it also allows the metal to be marked easier than steel, due to its malleability.

The item emphasizes flatness, a kind of subtle, swift elegance as well as delicacy within a utility tool.

Horne uses contrast between the silver and the black to invoke thoughts of shadows and discovery.

The knife is polished silver, contrasted with the flatter, black enamel on the handle seems to wear off at parts where the wear would be.

Monotonal piece, brightest on the blade, darker on the handle.

The colours contrast, with the black bleeding into the silver.

It emphasizes where the handle would be used the most, maybe as not to crack the enamel.

The contrast of the colour is also a visual element to stands out the piece I think