pcal ge pad 031401 Gil Elvgren (1914-1980)

The composition presents a staged photograph overlaid with calendar information and textual annotations. Here we observe a woman in nautical attire – a white sailors cap and a matching top – seated on what appears to be a camera tripod or similar studio equipment. Her gaze is directed towards the viewer, conveying an air of confidence and perhaps playful allure. A man, presumably the photographer, stands adjacent to her, his face partially obscured, focused intently on the lens. The lighting suggests a professional studio setting, with strong contrasts highlighting the woman’s features and the textures of her clothing.
The calendar element dominates the right side of the image. It designates March 14th as Wednesday, alongside dates in German (März) and French (Mercredi). This temporal marker introduces an intriguing layer to the work – a specific moment frozen in time, seemingly intended for repeated viewing or remembrance. The inclusion of Week 11 further reinforces this sense of a recurring date within a larger cycle.
The textual annotations provide additional context. They identify the woman as Myrna Hansen and state she is posing for what is described as “Sitting Pretty,” alongside Pete Darrow, identified as Elvgren’s studio assistant. The note Art from the Archives of Brown & Bigelow, St. Paul, Minnesota indicates the images origin as a promotional item or calendar page produced by this company. A signature appears in script across the lower portion of the photograph, adding an element of personalization and potentially indicating the artist’s endorsement.
Subtextually, the work explores themes of femininity, labor, and commercialization. The woman’s pose, while seemingly relaxed, is clearly constructed for aesthetic appeal – a performance intended to be consumed by a wider audience. The presence of the photographer highlights the power dynamics inherent in image creation; she is both subject and object within this process. The calendar format transforms the photograph from a singular artwork into a commodity, designed for repeated exposure and integration into daily life. The archival provenance suggests an attempt at preserving a moment that was originally intended as ephemeral advertising. Ultimately, the piece invites reflection on the intersection of art, commerce, and the construction of idealized representations within a specific historical context.