Which famous early american document did elizabeth cady stanton borrow from?

Which statement best compares the use of imagery and color in the poem and artwork to portray the woman? her hair is black with hints of red, the color of seaweed spread over rocks. morning begins the ritual wheel of the body, the application of translucent skins. she practices pleasure: the pressure of three fingertips applying powder. fingerprints of pollen some other hand will trace. the peach-dyed kimono patterned with maple leaves drifting across the silk, falls from right to left in a diagonal, revealing the nape of her neck and the curve of a shoulder like the slope of a hill set deep in snow in a country of huge white solemn birds. her face appears in the mirror, a reflection in a winter pond, rising to meet itself. the artwork’s use of color presents a woman of vigor and action, while the poem does not. the poem portrays the woman as unrefined, while the painting presents her as cultured. the artwork suggests a woman in her home, while the poem’s figurative language connects her to nature. the poem suggests that the woman is aloof, while the painting shows her to be self-absorbed.