2016Unpublished venueRequires access

The beautiful dead: Beauticians in the death care industry

Rebecca Le Bas

Open publisher page 0 citations

Abstract

I watch as the sculptor plays with the Plaster of Paris, twirling the white, thick paste in her hands. The mixture will hold the bones in place, avoiding displacement and tearage. She takes a cherry red Revlon lipstick and using a thin paintbrush, delicately applies it onto the dead woman's clammy lips. Using photographs and information from the family, she knows it's her signature look, one she never left home without wearing. Before stepping back to assess her handiwork, the artist checks the Tan Glo that was sprayed on 20 minutes ago to liven up the skin with a healthy summertime finish. She refines her handiwork, plucking hairs from the eyebrows to give them the perfect arch. Once she's satisfied with her work, she shows me the photograph of the lady alongside the life-sized doll. I can't believe how realistic the lady's face looks. It's almost as if she's alive, except she isn't.

About this research paper

What this paper is about

I watch as the sculptor plays with the Plaster of Paris, twirling the white, thick paste in her hands. The mixture will hold the bones in place, avoiding displacement and tearage. She takes a cherry red Revlon lipstick and using a thin paintbrush, delicately applies it onto the dead woman's clammy lips. Using photographs and information from the family, she knows it's her signature look, one she never left home without wearing. Before stepping back to assess her handiwork, the artist checks the Tan Glo that was sprayed on 20 minutes ago to liven up the skin with a healthy summertime finish. She refines her handiwork, plucking hairs from the eyebrows to give them the perfect arch. Once she's satisfied with her work, she shows me the photograph of the lady alongside the life-sized doll. I can't believe how realistic the lady's face looks. It's almost as if she's alive, except she isn't.

Why it matters

A significance statement is not available in the OpenAlex record.

Key contribution

A contribution statement is not available in the OpenAlex record.

Method / approach

Method details are not available in the OpenAlex metadata.

Main findings

Findings are not separately available in the OpenAlex metadata.

Limitations

Limitations are not available in the OpenAlex metadata.

Applications

Application details are not available in the OpenAlex metadata.

Available abstract

I watch as the sculptor plays with the Plaster of Paris, twirling the white, thick paste in her hands. The mixture will hold the bones in place, avoiding displacement and tearage. She takes a cherry red Revlon lipstick and using a thin paintbrush, delicately applies it onto the dead woman's clammy lips. Using photographs and information from the family, she knows it's her signature look, one she never left home without wearing. Before stepping back to assess her handiwork, the artist checks the Tan Glo that was sprayed on 20 minutes ago to liven up the skin with a healthy summertime finish. She refines her handiwork, plucking hairs from the eyebrows to give them the perfect arch. Once she's satisfied with her work, she shows me the photograph of the lady alongside the life-sized doll. I can't believe how realistic the lady's face looks. It's almost as if she's alive, except she isn't.

Key concepts: Art, Dead body, Visual arts, Face (sociological concept), White (mutation), Art history, History, Sociology

Related papers

Back to paper searchBrowse research topicsOriginal source
The beautiful dead: Beauticians in the death care industry — Research Paper | ScholarLens