drib 100 Peter Driben

The composition presents a woman in a pose suggestive of both vulnerability and playful defiance. She is positioned kneeling on the floor, her back arched slightly, creating a dynamic curve that draws the eye along her form. Her gaze is directed upwards and outwards, conveying an air of detached amusement rather than direct engagement with the viewer. The figure’s attire – a two-piece bathing suit – is rendered in dark tones, contrasting sharply with the vibrant red background. A measuring tape is held loosely in her hand, seemingly a prop within this staged scenario.
The color palette is dominated by the intense red of the backdrop, which immediately establishes a sense of heightened drama and visual energy. The limited use of other colors – the black of the swimsuit, the flesh tones of the woman, and touches of gold for accessories – further emphasizes the figure against the saturated field. This stark contrast contributes to an overall feeling of artificiality, characteristic of commercial imagery from this period.
The typography is bold and assertive, arranged in a vertical column on the left side of the composition. The words GIRLS GAGS GAYETY are stacked one above another, suggesting a promise of lighthearted entertainment and feminine allure. Below that, “WINK” appears at the top, further reinforcing this theme. A smaller text block at the bottom advertises the work as being for TIRED BUSINESS MEN, indicating its intended audience and subtly positioning it as an escape from the pressures of professional life.
The placement of a pair of high-heeled shoes discarded on the floor adds another layer to the narrative. They suggest a hasty departure or a moment of leisure, contributing to the sense that this is a carefully constructed scene rather than a spontaneous event. The signature Peter Driben appears in small lettering at the bottom right corner, acknowledging the artists contribution while maintaining the focus on the overall presentation.
Subtly embedded within the image are themes of female objectification and idealized beauty prevalent in mid-20th century advertising. While the woman’s expression suggests a degree of agency, her pose and attire reinforce conventional notions of feminine attractiveness designed to appeal to a male gaze. The entire arrangement operates as an invitation – a promise of diversion and escapism packaged within a visually arresting design.