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The contrast between the broadly applied watercolour and the delicate ink drawing in the face is a particularly striking reminder of McEvoy’s use of technical juxtaposition.

This is one of McEvoy’s more direct portraits in watercolour and reveals his intelligent and highly effective use of contrasting mediums in the same work.

We do not know the identity of the subject shown here, although the scarf she wears around her hair achieves a stylish and dateless demeanour. She is positioned contrapposto, as if caught mid-movement and her expression, which is engagingly demure, dominates the composition. The inescapable focus on the subject’s physiognomy is quite unusual for McEvoy when working in watercolour; he would generally focus less on features and more on the overall ambiance of the composition.

The contrast between the broadly applied watercolour and the delicate ink drawing in the face is a particularly striking reminder of McEvoy’s use of technical juxtaposition.



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This is one of McEvoy’s more direct portraits in watercolour and reveals his intelligent and highly effective use of contrasting mediums in the same work.

We do not know the identity of the subject shown here, although the scarf she wears around her hair achieves a stylish and dateless demeanour. She is positioned contrapposto, as if caught mid-movement and her expression, which is engagingly demure, dominates the composition. The inescapable focus on the subject’s physiognomy is quite unusual for McEvoy when working in watercolour; he would generally focus less on features and more on the overall ambiance of the composition.

The contrast between the broadly applied watercolour and the delicate ink drawing in the face is a particularly striking reminder of McEvoy’s use of technical juxtaposition.

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500 Years of British Art