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Painted during the years British artist Susan Isabel Dacre was studying and traveling between England, Paris, and Italy, this work sits in the 19th-century tradition of using “Italian” dress and youthful sitters to signal authenticity, locality, and feeling. A tight crop and an unguarded, sideways glance create a psychological portrait so we’re made aware of her interior life and of a world beyond the frame. 

Dacre’s work is a close-up portrait of a young girl shown from the chest up, turned three-quarters and looking sharply to our right, as if something off-canvas has caught her attention. Her skin is warm olive-tan under soft, naturalistic light while her dark brown eyes are wide and her lips part slightly, giving her expression a mix of alertness and uncertainty. Long black hair falls loose around her face and shoulders, crowned with fresh green leaves. A bright red two-strand coral necklace circles her neck as a white garment slips low across one shoulder and a brown patterned wrap is held in place by her other arm. The background is an atmospheric field of deep greens, painted loosely so her face and gaze feel intensely present.

The leafy crown was likely a festival adornment (or a hint of laurel), while the vivid red necklace punctuates the composition like a protective charm expressing life, warmth, and individuality against the cool green ground. 

Seen through Dacre’s later commitment to women’s advancement, the painting’s quiet power is how it grants a working-class or rural-coded girl the dignity of attention. She is not posed for display, but caught mid-thought, self-possessed, and real.

Dacre trained at the Manchester School of Art and later at the Académie Julian in Paris, building a practice grounded in close observation and painterly restraint. She was also a committed women’s suffrage activist and, with her friend Annie Swynnerton, helped found the Manchester Society of Women Artists.

Painted during the years British artist Susan Isabel Dacre was studying and traveling between England, Paris, and Italy, this work sits in the 19th-century tradition of using “Italian” dress and youthful sitters to signal authenticity, locality, and feeling. A tight crop and an unguarded, sideways glance create a psychological portrait so we’re made aware of her interior life and of a world beyond the frame. Dacre’s work is a close-up portrait of a young girl shown from the chest up, turned three-quarters and looking sharply to our right, as if something off-canvas has caught her attention. Her skin is warm olive-tan under soft, naturalistic light while her dark brown eyes are wide and her lips part slightly, giving her expression a mix of alertness and uncertainty. Long black hair falls loose around her face and shoulders, crowned with fresh green leaves. A bright red two-strand coral necklace circles her neck as a white garment slips low across one shoulder and a brown patterned wrap is held in place by her other arm. The background is an atmospheric field of deep greens, painted loosely so her face and gaze feel intensely present. The leafy crown was likely a festival adornment (or a hint of laurel), while the vivid red necklace punctuates the composition like a protective charm expressing life, warmth, and individuality against the cool green ground. Seen through Dacre’s later commitment to women’s advancement, the painting’s quiet power is how it grants a working-class or rural-coded girl the dignity of attention. She is not posed for display, but caught mid-thought, self-possessed, and real. Dacre trained at the Manchester School of Art and later at the Académie Julian in Paris, building a practice grounded in close observation and painterly restraint. She was also a committed women’s suffrage activist and, with her friend Annie Swynnerton, helped found the Manchester Society of Women Artists.

“Italian Girl with Necklace” by Susan Isabel Dacre (British) - Oil on canvas / c. 1874–1880 - Manchester Art Gallery (Manchester, England) #WomenInArt #ManchesterArtGallery #SusanIsabelDacre #Dacre #PortraitofaGirl #art #artText #BritishArtist #BlueskyArt #arte #WomensArt #WomanArtist #WomenArtists

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You really shouldn’t give #Dacre FOMO like that.

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Dacre Montgomery Took Hiatus After ‘Stranger Things’ To “Reverse Engineer” Acting Career After a three-year hiatus, Dacre Montgomery is back onscreen with multiple upcoming projects. The Au...

#News #Dacre #Montgomery #Stranger #Things #Went #Up #The #Hill

Origin | Interest | Match

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A view of the bar in a village pub.
There are four hand pulls for dispensing the beer. Each has a pump clip which gives the name of the beer being pulled from the barrel.
The four from left to right are:
Crag Rats, Shaker Maker, Bluebird Bitter and Kessin Blonde.
Behind the bar are bottles of spirits and glasses hung from the ceiling.

A view of the bar in a village pub. There are four hand pulls for dispensing the beer. Each has a pump clip which gives the name of the beer being pulled from the barrel. The four from left to right are: Crag Rats, Shaker Maker, Bluebird Bitter and Kessin Blonde. Behind the bar are bottles of spirits and glasses hung from the ceiling.

#AlphabetChallenge
#WeekCforCommunication
Pump clips on the hand pulls inform what the beers are in this lovely pub.
Horse & Farrier, Dacre, Cumbria
#beer #pubs #dacre #lakedistrict #cumbria #photography #eastcoastkin

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View of St.Andrew's Church, Dacre. A 12th century Norman church.
This shows the front tower of the church with an arch over a wooden door. Above this is a clock, an arched window and a turreted roof.
In front are some of the church grounds with gravestones on the grass and a large tree to the left

View of St.Andrew's Church, Dacre. A 12th century Norman church. This shows the front tower of the church with an arch over a wooden door. Above this is a clock, an arched window and a turreted roof. In front are some of the church grounds with gravestones on the grass and a large tree to the left

St.Andrew's Church, Dacre, Cumbria
A 12th C Norman church, built on the site of a 7th C Saxon monastery.
It is where we were married and is also home to the Dacre Bears (not a sports team but medieval stone statues - see comments for more)
#dacre #lakedistrict #buildings #photography #eastcoastkin

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Interesting. But let's not single out #Dacre: entire UK tabloid system is little short of evil in its naked hatred.

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ついっぷる ついっぷる - サービスは終了しました。

Presumably having one put in.
#Dacre #heart http://p.twipple.jp/oVBFo

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The weird, warped world as depicted by the Daily Mail Andy Dawson - Twitter's Profanity Swan - takes a sideways glance at Paul Dacre's editorial in the Mail and at Guardian.com

www.mirror.co.uk/news/uk-news/paul-dacre-... "The thought of Ed Miliband smoothly diddling his brother David is almost too much to stomach" #Dacre

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The Council of Europe: guardian of Human Rights, Democracy and the Rule of Law for 700 million citizens - Portal - www.coe.int The Council of Europe is the continent's leading human rights organisation. It includes 46 member states, 27 of which are members of the European Union.

Why is the European Court Of Human Rights so obsessed with the Daily Mail? #Dacre www.humanrightseurope.org/2013/10/court-concern-at... (via @chris_coltrane)

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"any newspaper which dares to take on the left"! Are there any that don't, day in, day out? #Dacre

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I suppose if I were forced to pick out one bit of the #Dacre article as the absolute most ridiculous, it would probably have to be...

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Even if comments were open now I don't think I'd bother. I mean… just… where would you even *start*? #Dacre

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#Dacre "I'd die in a ditch" - yes please, and soon. #leveson

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Oh. Big Bad Furrin Journalists stealing bread (and stories) out of mouths of British Code Abiding Journalists. #Dacre

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#Dacre has the sort of voice that is generally used for paedophiles in exploitative dramas. #leveson

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Worst Human at #Leveson Yet has just arrived: the execrable #Dacre. A Worm, A Rat, A Monster, A Foul-Mouthed Arsehole.

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