|20th December 2006||#1|
Join Date: July 2005
Chloe Agnew in white
Is Chloe Agnew a timeless beauty of the first order? Absolutely.
Is she as beautiful as any of the world's top plus-size models. Indisputably.
Is she the closest thing to a reincarnation of Lillian Russell that we have ever encountered? Almost certainly.
That Miss Agnew exhibits every feature of Classical beauty is apparent at a glance. With golden hair, fair eyes, a peaches-and-cream complexion, she is the living embodiment of the eternal ideal of femininity.
Her facial features are exquisitely rounded, with prominent cheekbones, and a general aspect of soft fullness. She even possesses the "slight rise" of a "slope towards the throat" that Renaissance writers considered the most attractive womanly attribute.
Indeed, Chloe seems to have stepped right out of the pages of Alexander Walker's treatise on ideal beauty. Following Winckelmann, Walker maintains that in "the eyes of Venus . . . the slight elevation of the lower eyelid produces that languishing look [admired] by the Greeks . . . [t]o give this expression of gladness or of pleasure, the opening of the eyelids is diminished." Chloe has precisely his heavy, lidded look in her eyes, which is the most seductive glance of all.
Perhaps most importantly, Chloe exhibits a naturally curvaceous figure, also equal in Classical beauty to that of any goddess, past or present. In her most recent Celtic Woman PBS special, dressed in a strapless white gown, Miss Agnew looked for all the world like a Rubens angel come to life, in the present day.
It is unlikely that Chloe will be exploring alternative career paths in the near future, since her singing career is progressing apace, but if she were, she could easily become a plus-size supermodel second to none, based on how appealingly she showcases this dreamlike gown.
But the fact is that Miss Agnew does have an angelic singing voice, a crystalline soprano of operatic quality. In this, too, she mirrors Lillian Russell, who was a high soprano as well, renowned for possessing a pure sweetness of voice that perfectly matched the delicate femininity of her voluptuous being.
And what makes Miss Agnew so captivating is not merely how she sings, but what she sings. Instead of performing ugly modern music with raunchy lyrics, Chloe--both in her solo endeavours, and as the lead singer of the Celtic Woman group--favours traditional Irish songs, opera arias, and lovely melodic tunes of past decades.
In her last PBS concert, for example, her numbers included the beloved "Over the Rainbow,"
and a deeply moving performance of a song titled, "The Prayer"--which was the highlight of the evening.
Chloe sings with intense emotion and depth of feeling, as well as flawless technical mastery. She could be an operatic star of the highest calibre, if she wished to be, but as a "crossover" artist, she reaches a far greater audience, while still maintaining the integrity of her craft.
In every sense, then, this elegant chanteuse can be considered the definitive anti-modern-pop star: fair-skinned as opposed to radioactively sunburned; softly curvaceous rather than emaciated; attired in an elegant and feminine rather than trashy manner; proudly maintaining a wholesome image rather than seeking notoriety through disgusting P.R. antics; a wondrously gifted singer rather than a studio soundboard creation; and a performer of genuinely beautiful music rather than a singer of explicit lyrics advocating soul-destroying behaviour.
Chloe is what popular singing stars could be--and would be, if Western society had remained healthy throughout the 20th century, instead of degenerating so badly over the past several decades. In every way, physically and artistically, she is the embodiment of a culture of nobility and beauty.
Anyone who is interested in seeing (and hearing) more of Miss Agnew is advised that she appears in two DVDs with the Celtic Woman group, and that she also has a solo DVD, which, although only available from overseas retailers such as amazon.co.uk, is a region-free disc, meaning that it will play in North American machines without impediment.
Miss Agnew's voice can also be heard on the Celtic Woman CDs, and on her own solo album--but the DVDs are the more fulfilling artistic experiences.
For example, in the case of the most recent PBS performance (as noted by Leimomi, who introduced Miss Agnew to our forum), one has the added advantage of seeing the concert performed against the backdrop of an imposing Irish castle,
and having Chloe backed up by a troupe of fellow Irish singers (many of whom are themselves quite curvaceous).
At this juncture, we will forgo the traditional expression of hope that the public will see more of this plus-size beauty in the near future, because the Celtic Woman group is about to embark on a North American tour throughout 2007, which will provide this young starlet with considerable exposure. Rather, let us hope that Chloe resists any absurd pressure to starve away her beauty, and instead remains a stunning embodiment of the full-figured feminine ideal.
At this site, we have promoted many models who exhibit timeless beauty, as well as an actress, and even a video-game character. But Chloe is the first singer whom we have singled out for praise, the first present-day chanteuse who embodies Classical femininity to such a superlative degree.
At 17, Chloe is, like Christina, Kelsey, Kailee, and other voluptuous vixens, a living example for full-figured girls that they can be heart-stoppingly gorgeous at their natural size, and that they can achieve limitless artistic success without physically torturing themselves.
And that is something worth singing about . . .
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