4DPict;klj Ismael Smith

The drawing presents a scene populated by three figures rendered in a simplified, almost cartoonish style. The color palette is restrained, primarily utilizing muted pinks, greens, and blues against a pale beige background. A man stands on the right side of the composition; he wears a light blue suit with a visible button-down shirt collar and a grey cap perched atop his head. His posture suggests an air of formality, yet his elongated limbs and somewhat awkward stance introduce a sense of unease or perhaps even absurdity.
To his left is a woman adorned in an elaborate hat featuring feathers and what appears to be lace detailing around her neckline. She wears a dark green dress that clings to her form. Her expression is ambiguous; it’s difficult to discern whether shes smiling, frowning, or simply exhibiting a neutral affect. The gesture of her hand, extended towards the man, could signify greeting, invitation, or even rejection.
A second woman stands on the left side of the image, clad in a flowing pink dress. Her hair is swept back from her face and secured with a headband. Like the other figures, she possesses elongated features and an exaggerated posture. She appears to be engaged in conversation with the man, though her expression mirrors that of the first woman – inscrutable and detached.
The artist’s use of line is significant; its fluid and expressive, contributing to the overall sense of stylized representation rather than realistic depiction. The figures seem almost like puppets or mannequins, lacking a certain vitality.
A handwritten inscription appears in the lower right corner: Ismael Smith – Paris 1928. This provides context for the work’s creation and suggests a connection to the artistic milieu of interwar Paris. A further inscription is visible along the left edge, written in what seems to be French; its translation reads “How you make them feel for me, agreeable or loathing?”
The subtexts within this drawing are complex. The stylized figures and their ambiguous expressions hint at a critique of social conventions and perhaps even the superficiality of Parisian high society during the 1920s. The question posed in the inscription suggests an exploration of perception and how individuals manipulate appearances to elicit specific reactions from others. Theres a sense of detachment and irony present, as if the artist is observing these figures with a critical eye, exposing their artifice rather than celebrating it.