Daffodil Woman Essay

Vyse Daffodil Woman
However, Vyse’s next exhibit at the RA, 1923, his Flower Seller (RA 369), can easily be identified from the description published in The Pottery and Glass Record as Daffodil Woman (Fig 50). Vyse, is thought to have encountered a young woman selling spring flowers in Chelsea, and began to sketch her, another subject to model. Standing 10 inches high, this figure is the tallest figure of the genre in the Vyse canon. Daffodil Woman is unusual among the early figures and appears for Vyse to have been a work in progress. Furthermore, it seems curious that Vyse should model three quite similar versions of the subject. There is no extant evidence of which model came first, or why Vyse found it necessary to alter the original or indeed a second version. The differentiating features concern the modelling of the white apron. The two styles of bodice and dress length, render the changes all the more
She holds a bunch of daffodils and anemones, and the basket contains daffodils, narcissus, and anemones. These individually hand-made flowers vary from edition to edition. Eventually the flowers became mainly daffodils with a varying amount of anemones in the basket. As noted, the decoration usually centres on the orange shawl, the dress with varying stripes of blue, yellow and green, occasionally red. A distinct variation occurs in the version with the large apron, and has orange stripes overlain with dark blue chevrons. A complete change is the blue shawl from, which appears in the larger apron versions, tied and edged with yellow. The dress has stripes of varying widths and shades of blue, with more white shown between the stripes. The figure painter has clearly defined the buttons and buttonholes of the bodice, creating a light and homogenous design. From 1923 to 1925 the Vyses’ produced the versions as