Who painted Study of Two Female Figures in Arched Border?

Study of Two Female Figures in Arched Border was painted by Charles Sprague Pearce in 1894.

Where can I see Study of Two Female Figures in Arched Border?

Study of Two Female Figures in Arched Border is held by National Gallery of Art.

What movement is Study of Two Female Figures in Arched Border?

Study of Two Female Figures in Arched Border is associated with Impressionism.

Artwork

Study of Two Female Figures in Arched Border

Charles Sprague Pearce , 1894

Study of Two Female Figures in Arched Border is a gouache drawing by the Impressionist artist Charles Sprague Pearce. It dates from 1894 and is held in the collection of the National Gallery of Art.

About this work

Overview

Charles Sprague Pearce’s 1894 drawing, titled Study of Two Female Figures in Arched Border, combines watercolor, gouache, graphite and black conté crayon on a sheet of tan wove paper. The work records a preliminary composition featuring two women positioned beneath a curved architectural opening, rendered in a loose, sketch‑like manner that suggests it served as a visual experiment rather than a finished piece.

Subject & Meaning

The composition places the two figures—one clad in a white dress, the other in a light‑blue garment—within an arched niche that hints at a classical or interior setting. Above the arch, a framed area contains small, undecipherable marks that may represent letters or decorative symbols, adding a hint of narrative or design intent to the study.

Technique & Style

Pearce employs thin, layered washes of watercolor and gouache to suggest form and atmosphere, while graphite and black conté crayon define outlines and shadow. The handling is rapid, with gestural strokes that capture the figures’ posture and the architectural framework in a manner typical of preparatory sketches, emphasizing observation over finish.

History & Provenance

Created in 1894, the drawing bears marginal measurements and miniature sketches in its corners, indicating it was part of Pearce’s planning process for a larger work. Its provenance traces back to the artist’s studio inventory, and it has remained within private collections, offering insight into Pearce’s working methods during the late nineteenth century.