This study aims to analyze the female identity and feminine features in painting works of the second half of the Qajar period (in the works of Kamal ol-Molk). The research method is descriptive-analytical, and the research type is qualitative. The statistical population is the study of Kamal-ol-Molk school's works according to women's status, and the data collection instruments and data utilized are library resources. According to studies, Iranian society was confronted with a new experience during the reign of Nasser al-Din Shah and the increase of ties with European societies. The ubiquity of photography and printing allowed the painter to experiment with many topics. The entrance of European works gave artists from other nations a new perspective, as well as new styles, accessories, and methods. When we compare Falgir Baghdadi's painting to another work by Kamal-ol-Molk named Ramal, which was made before that of Falgir Baghdadi, we can see the contrast in perspective and attitude toward women. The way ladies dress in Ramal's picture is more traditional, and their veiling and manner of relationship with the male are distinct from Falgir Baghdadi's painting. The way women recline in front of Flgir, the less or more open covering of women by Falgir Baghdadi, and the freer interaction between men and women are notable. Falgir's artwork, which shares the same material and subject matter as the tablecloth, embodies the presence of a distinct sort of lady.
