Guy Pene du Bois, 'Evening', 1929, oil on canvas, Brooklyn Museum
The bold, open pose of the woman in Evening indicates that she is actively encouraging her partner’s attention. In contrast, the Confidence Man
(unshown), or con man, in the adjacent painting stands aggressively near his female companion. His almost threatening stance and her downcast face suggest that he is not to be trusted.
Despite the physical closeness of these two sets of figures, their faces are inscrutable and the nature of their interactions remains ambiguous. Guy Pène du Bois frequently painted stiff figures with masklike faces, suggesting social alienation beneath the glitter and gloss of the party scene.
Guy Pene du Bois, 'Evening', 1929, oil on canvas, Brooklyn Museum
The bold, open pose of the woman in Evening indicates that she is actively encouraging her partner’s attention. In contrast, the Confidence Man
(unshown), or con man, in the adjacent painting stands aggressively near his female companion. His almost threatening stance and her downcast face suggest that he is not to be trusted.
Despite the physical closeness of these two sets of figures, their faces are inscrutable and the nature of their interactions remains ambiguous. Guy Pène du Bois frequently painted stiff figures with masklike faces, suggesting social alienation beneath the glitter and gloss of the party scene.