Mrs. Abington as Roxalana in The Sultan Joshua Reynolds (1723-1792)

The portrait presents a woman in elaborate costume against a backdrop of deep crimson drapery. She is positioned at a slight angle to the viewer, her gaze directed outwards with an expression that suggests both composure and a hint of amusement. The lighting emphasizes her face and upper torso, leaving the lower portion of the figure largely obscured by the voluminous fabric.
The woman’s attire immediately draws attention. A white gown, richly embroidered with gold thread, forms the base of the costume. Over this is draped a sheer, flowing sleeve that reveals glimpses of the underlying garment. Around her neck rests a string of pearls, adding to the overall impression of opulence and refinement. Her hair is styled in the fashionable coiffure of the period, adorned with feathers or plumes, further contributing to the sense of theatricality.
The crimson backdrop serves as a stark contrast to the woman’s pale complexion and white garments. The heavy folds of the drapery create a sense of depth and grandeur, while also isolating her from any discernible setting. This isolation reinforces the impression that she is presented not as an individual but as a character within a larger narrative.
The subtexts embedded in this depiction are complex. The costume itself suggests a deliberate adoption of an exotic persona – likely inspired by Eastern or Ottoman cultures, given the richness and unusual nature of the attire. It’s probable that the woman is portraying a figure from a theatrical production, perhaps drawing on popular narratives about harems and sultans prevalent during the era. This choice speaks to a fascination with the Orient as an imagined space of luxury, intrigue, and power – a common theme in European art and literature of the time.
The woman’s expression is particularly noteworthy. It isnt one of subservience or demureness that might be expected from a character associated with a harem setting. Instead, there is a subtle air of self-possession and even playful defiance. This could suggest an awareness on the part of both the sitter and the artist regarding the potential for exoticism to be interpreted as empowerment, or perhaps a commentary on the performative nature of identity itself. The painting, therefore, transcends a simple portrait; it becomes a visual exploration of cultural appropriation, theatricality, and the construction of persona within a specific historical context.