Thomas Benjamin Kennington – The Pinch of Poverty
1889. 167x148
Location: Art Gallery of South Australia, Adelaide.
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The setting is urban, indicated by the wrought-iron fence that separates the family from a more affluent neighborhood visible in the background. The buildings beyond suggest relative prosperity – well-maintained structures and signs of established order – which starkly contrast with the immediate circumstances of the depicted group. Rain permeates the scene, adding to the atmosphere of bleakness and discomfort; it glistens on the pavement and dampens the children’s clothing.
The womans attire is simple and dark, indicative of limited resources. Her gaze is directed downwards, avoiding direct engagement with the viewer, which reinforces a sense of shame or quiet despair. The older child selling flowers displays an expression that blends determination with vulnerability; her small stature and worn clothes emphasize the burden placed upon her at such a young age. The younger boy’s posture suggests dependence and a lack of agency.
Subtleties in color contribute to the overall mood. A muted palette dominates, punctuated by the yellow daffodils held by the flower seller – a fleeting symbol of hope or beauty amidst adversity. The light source appears diffused, casting long shadows that further emphasize the familys marginalization.
The artist’s choice to depict a moment of everyday struggle rather than an overtly dramatic event suggests a desire to highlight the pervasive nature of poverty and its impact on ordinary lives. The composition invites contemplation about social inequality and the resilience required to endure difficult circumstances. It is not merely a portrayal of destitution, but also a quiet testament to familial bonds and the children’s efforts to contribute to their survival.