Portrate of a Lady – Zaidan Gallery

01 work, PORTRAIT OF A LADY, Edgardo Saporetti’s Italian Mother with two children, with Footnotes. #100

Edgardo Saporetti, 1865 – 1909
Italian Mother with two children
Oil on canvas.
74 x 62 cm.
Private collection

The young woman leans against a house wall with a view of the viewer, a small child on her breast, the older daughter looking at the child.

Edgardo Saporetti (Bagnacavallo, 1865 – Bellaria, 1909) was an Italian painter of eclectic subjects, including portraits, landscapes, and genre subjects.

He was the son of Pietro Saporetti, painter and docent of the Academy of Fine Arts of Ravenna, and initially studied there. At the age of 15 years, he traveled to Rome to work under Cesare Mariani, director of the Accademia di San Luca, then moved to Naples where he worked in the studio of Domenico Morelli. He was commissioned to complete portraits of the King Umberto I, his wife, and son Victor Emmanuel III.

His life and career is described as restless and stormy, and financial and other complications, forced him to exile himself to London. He was to return to Florence in 1903, where he obtained an appointment as adjunct professor of painting at the Academy of Fine Arts, Florence. Among his works there was a series of illustrations of the Divine Comedy for the publisher and photographer Vittorio Alinari. He also completed a Via Crucis in Florence. More on Edgardo Saporetti

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04 Paintings, PORTRAIT OF A LADY, The Islamic Pirate Queen – Sayyida al-Hurra, with Footnotes. #172

Jean-Étienne Liotard
The Islamic Pirate Queen – Sayyida al-Hurra
Gouache on ivory
height: 10.2 cm (4 in); width: 8.3 cm (3.2 in)
Private collection

Sayyida al Hurra (1485–14 July 1561), was a queen of Tétouan in 1515–1542 and a pirate queen in the early 16th century. She is considered to be “one of the most important female figures of the Islamic West in the modern age”…

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01 Painting, PORTRAIT OF A LADY, William Henry Margetson’s Don’t Tell!, with Footnotes. #171

William Henry Margetson, RI, ROI (BRITISH, 1861-1940)
Don’t Tell! c. 1916
Oil on canvas
68.6 x 50.8cm (27 x 20in)
Private collection

William Henry Margetson RI (December 1861 – 2 January 1940) was an English painter and illustrator, mainly known for his aesthetic portraits of women.Margetson was born at Camberwell in Surrey. He studied at Dulwich College, and later at the Royal College of Art and the Royal Academy of Arts. In 1885 he first exhibited at the Royal Academy, and later also at the Royal Society of British Artists, the Royal Institute of Oil Painters and the Grosvenor Gallery.

Margetson painted in oils and watercolours. He made his name with portraits of beautiful women,. He also created religious and allegorical artwork. Later he would use a looser brushstyle inspired by the post-impressionists and the pre-raphaelites.

He lived and worked first in London and later in Blewbury and Wallingford. He died in Wallingford, Oxfordshire, in 1940, at the age of 78. More on William Henry Margetson

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01 Painting, PORTRAIT OF A LADY, Richard Bergh’s Lady with a fan, with Footnotes. #169

Richard Bergh, (1858-1919)
Lady with a fan, c. 1883.
Pastel
64 x 48 cm.
Private collection

Sven Richard Bergh (1858-1919) was a Swedish painter, art critic and museum manager. Despite many years in France, he remained unattracted to Impressionism, preferring instead the Naturalism of painters such as Jules Bastien-Lepage. He also rejected the idea of creating landscapes en plein aire.

Both of his parents were artists and, presumably, his first teachers. He began his formal studies from 1878 to 1881, at the Royal Swedish Academy of Fine Arts. His first works were scenes from Swedish history, painted in the Academic style. In 1881, he went to Paris. His first exhibition at the Salon came in 1883 and he completed his studies in 1884.

The following year he became members of the Nordic art colony at Grez-sur-Loing. That same year, he joined with the Swedish artists who became known as the opponents (Opponenterna); a group that was protesting what they felt were the outmoded teaching methods at the Academy. Shortly after, they created the Artists’ Association (Konstnärsförbundet).

In 1893, Bergh and his family moved to Varberg,. . He found himself more attracted to Romantic Nationalism; a predilection that was strengthened by a stay in Italy from 1897 to 1898, where the art he observed impressed him as representing exactly the opposite.

Richard Berghs väg, a street in Södra Ängby, Stockholm, was named after him. More on Richard Bergh

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12 Photographs, PORTRAIT OF A LADY, Ady Fidelin, the first black model and muse, by Man Ray, Pablo Picasso and Lee Miller, with Footnotes. #171

MAN RAY (1890-1976)
Ady Fidelin, c. 1936
Silver print
23 x 17.5 cm.
Private collection

Ady Fidelin was born in 1915 in Pointe-à-Pitre into one of Guadeloupe’s oldest Creole families, immigrating to France in the wake of the catastrophic 1928 cyclone that devastated the Caribbean, killing thousands. The death of her mother during this traumatic event and the passing of her father a few years later precipitated her migration to Paris to join family members who had made the passage before her. She arrived in France in one of the successive waves of émigres from the island, lured by the hope of a better life in the storm’s aftermath…

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01 Painting, PORTRAIT OF A LADY, Philip Hermogenes Calderon’s Roman beauty, with Footnotes. #168

Philip Hermogenes Calderon, RA, (BRITISH, 1833-1898)
A Roman beauty, c.1887
Oil on canvas
46 x 39.5cm (18 1/8 x 15 9/16in)
Private collection

Philip Hermogenes Calderon RA (Poitiers 3 May 1833 – 30 April 1898 London) was an English painter of French birth (mother) and Spanish (father) ancestry who initially worked in the Pre-Raphaelite style before moving towards historical genre. He was Keeper of the Royal Academy in London.

Calderon planned to study engineering, but he became so interested in drawing technical figures and diagrams that he changed his mind and devoted his time to art. In 1850, he trained at Leigh’s art school, London, then went to Paris in 1851. His first successful painting was in 1852, which was followed by a much more popular one in 1856. He was inspired by the Pre-Raphaelites, and some of his work showed the detail, deep colors, and realistic forms that characterize the style.

His later paintings adopt a more classical style, comparable to Edward Poynter. Calderon became Keeper of the Royal Academy in 1887, and from then on worked to support the teaching of anatomy based on nude models at the Royal Academy Schools. His 1891 painting St Elizabeth of Hungary’s great act of renunciation was secured by the Chantrey bequest for the national collection, and is now located in Tate Britain. More on Philip Hermogenes Calderon

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04 Photographs, PORTRAIT OF A LADY, Edwin Bower Hesser’s JEAN HARLOW ALMOST NUDE, with Footnotes. #165

EDWIN BOWER HESSER
JEAN HARLOW ALMOST NUDE, c. 1929
Photograph
12 by 9 inch
Private collection

Jean Harlow (born Harlean Harlow Carpenter; March 3, 1911 — June 7, 1937) was an American actress. Known for her portrayal of “bad girl” characters, she was the leading sex symbol of the early 1930s and one of the defining figures of the pre-Code era of American cinema. Often nicknamed the “Blonde Bombshell” and the “Platinum Blonde”, Harlow was popular for her “Laughing Vamp” screen persona. Harlow was in the film industry for only nine years, but she became one of Hollywood’s biggest movie stars, whose image in the public eye has endured. In 1999, the American Film Institute ranked Harlow №22 on its greatest female screen legends of classical Hollywood cinema list…

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01 Painting, PORTRAIT OF A LADY, Pegah Samaie’s Defiance, with Footnotes. #161

Pegah Samaie
Defiance, c. 2020
Oil on aluminum
24 × 30 in, 61 × 76.2 cm
Private collection

Pegah Samaie is an American-Iranian artist who was born and grew up in Tehran, Iran. Pegah’s art moves through the shadow of her past life. She uses art as a tool to face the experiences she and other women have encountered in a culture dominated by patriarchal governments and households. Her early experiences in Iran changed her perception of the role of women in society; they motivated her and influenced her way of talking about women. Art is her voice to talk about her feelings and experiences.

Pegah studied drawing and painting under the guidance of master Iranian artists. She received her BFA with honors from the prestigious Laguna College of Art and Design in Laguna Beach, CA, where she is now also completing her Master of Fine Art degree. More on Pegah Samaie

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01 work, PORTRAIT OF A LADY, Ender’s Danger inflammable, with Footnotes. #160

Ender
Danger inflammable, c. 2020
Aerosol paint, collage, Stencil
81 x 60 x 1 cm
Private collection

Mixed media: torn posters and a stencil made with a spray can mounted on canvas. During his interventions on the walls, Ender collects posters. Most often, he uses the reverse side of these posters, which thus keep the imprint of the previous poster. These are broken down into more or less large pieces, like an urban puzzle, from which sometimes the trace of a word or an indication emerges.

Ender was born in 1973, he lives and works in Paris. Professional actor for more than 25 years, inquiring about art in general terms, he started by pasting up his stencils on Parisian walls in 2008.

He acts as a film director when pasting up on the walls of Paris, Rome, Marseilles, Strasbourg, Venice or Florence, making sure the stencil and the wall onto which it is pasted can have a proper dialogue and above all, that the viewers get into the conversation.

At the beginning, the serie Les Mariolles, depicting playful and insolent kids pulling out their tongs to passers-by, will be followed by the serie showing gargoyles, and mythological characters as well as angels. The common ground to all these favored themes lies in the will to borrow classical themes and integrate them into modern times, angels landing on our walls naturally wear hoodies.

Ender’s studio work is now shown in different galleries in Paris, Nice, Marseille and Strasbourg. He participated twice in the festival international d’art contemporain des Alpilles.

Mentionned in a dozen books dealing with urban art, he’s one of the few french artist in the « Planet Banksy book edited in the United States in 2014. More on Ender

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06 works, PORTRAIT OF A LADY, The Nieces of Cardinal Mazarin at the court of King Louis XIV of France, with Footnotes. #159

Unknown artist
The Nieces of Cardinal Mazarin
Oil and copper
height: 35 cm (13.7 in); width: 41.5 cm (16.3 in) (1.3 in) Edit this at Wikidata
Musée des Beaux-Arts de la ville de Paris

Depicted: Hortense Mancini, Olympia Mancini, Marie Mancini

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01 work, PORTRAIT OF A LADY, Christine Spengler’s Marguerite Duras, La violence du Mékong, with Footnotes. #158

Christine Spengler
Marguerite Duras, La violence du Mékong, c. 1887
Photomontage
100cm x 90cm
Private collection

Marguerite Donnadieu (4 April 1914 – 3 March 1996), known as Marguerite Duras, was a French novelist, playwright, screenwriter, essayist, and experimental filmmaker.

Duras was born in southern Vietnam and lost her father at age 4. The family savings of 20 years bought the family a small plot in Cambodia, but everything was lost in a single season’s flooding. The disaster killed her mother as a result. After high school in Saigon, Ms. Duras left Indochina to study law in Paris. As a young woman, she worked as a secretary in France’s Ministry of Colonies from 1935 to 1941, before becoming a writer. She wrote 34 novels from 1943 to 1993, and became an enduring part of Paris’s intellectual elite. In addition to her writing, she also directed about 16 films. For the film India Song (1975), she won France’s Cinema Academy Grand Prix. She claimed to have rescued French president François Mitterand during World War II, when he was a resistance fighter and remained a friend and unconditional campaigner. Her most noted novel is “L’Amant”, the story of a girl, from a poor French family in Indochina, who becomes the mistress of a wealthy Indochinese notable’s son. More on Marguerite Duras

Christine Spengler (born 1945) is a French war photographer. Since 1970, she has photographed and reported on conflicts, primarily from the point of view of the victims of war.

She worked freelance as a photographer for Sipa-Press, Corbis-Sygma, and AP, while she documented wars in Chad, Northern Ireland, Vietnam, Cambodia, Lebanon, Western Sahara, Kurdistan, Nicaragua, Kosovo, Afghanistan, and Iraq, among others. Her work has appeared in news publications worldwide, including Paris-Match, Time, Newsweek, El País, The New York Times, and Le Monde. She photographed the Christian Dior winter 2018/2019 ready-to-wear Collection. More on Christine Spengler

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02 works, PORTRAIT OF A LADY, Henryk Ippolitovich Siemiradzki’s THE GIRL OR THE VASE, with Footnotes. #157

Henryk Ippolitovich Siemiradzki, 1843 – 1902, attributed
THE GIRL OR THE VASE
Oil on canvas.
28 x 42 cm.
Private collection

A sketch for a larger painting, also known as “The Presentation of a Slave” (Below). In an elegant interior, two traders, one in red, the other in blue, offer a young woman. You are about to open the white robe of the woman and present the naked beauty to a seated older, white-clad gentleman who is holding a high vase in his right arm. The presentation is viewed on the right by a man who is kneeling on a chair and another man. More on this painting

Henryk Hektor Siemiradzki (24 October 1843–23 August 1902) was a Polish painter based in Rome, best remembered for his monumental academic art. He was particularly known for his depictions of scenes from the ancient Greek-Roman world and the New Testament, owned by many national galleries of Europe.

Many of his paintings depict scenes from antiquity, often the sunlit pastoral scenes or compositions presenting the lives of early Christians. He also painted biblical and historical scenes, landscapes, and portraits. His best-known works include monumental curtains for the Lviv Theatre of Opera and for the Juliusz Słowacki Theatre in Kraków…

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01 work, PORTRAIT OF A LADY, Henri Baptiste Lebasque’s PORTRAIT OF A LADY IN RED, with Footnotes. #155

Henri Baptiste Lebasque, from 1865 to 1937
PORTRAIT OF A LADY IN RED
Oil on canvas on panel.
49.5 x 33 cm
Private collection

Henri Lebasque (25 September 1865 – 7 August 1937) was a French post-impressionist painter. His work is represented in French museums, notably Angers, Geneva (Petit Palais), Lille (Musée des Beaux-Arts), Nantes, and Paris (Musée d’Orsay).

He started his education at the École régionale des beaux-arts d’Angers, and moved to Paris in 1886. Around this time, Lebasque met Camille Pissarro and Auguste Renoir, who later would have a large impact on his work.

Lebasque’s vision was coloured by his contact with younger painters, especially Édouard Vuillard and Pierre Bonnard, founders of Les Nabis, a group of Intimist painters that first favoured the calm and quietude of domestic subject matter. From his first acquaintance with Georges Seurat and Paul Signac, Lebasque learnt the significance of a colour theory which stressed the use of complementary colours in shading.

Lebasque was a founding member of the Salon d’Automne in 1903 with his friend Henri Matisse and exhibited at the Salon des Indépendants. Two years later, a group of artists exhibited there including Georges Rouault, André Derain, Henri Ottmann, Édouard Vuillard, and Matisse. Lebasque also became friends with artists such as Raoul Dufy, Louis Valtat, and Henri Manguin, the last of whom introduced Lebasque to the South of France.

His time in South of France would lead to a radical transformation in Lebasque’s paintings, changing his colour palette forever. Other travels included the Vendée, Normandy, and Brittany.

Lebasque had some commercial success during his lifetime. He worked on the decorations at the theatre of the Champs-Elysées and of the Transatlantique sealiner.

Lebasque died at Cannet, Alpes Maritimes in 1937. More on Henri Lebasque

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06 works, PORTRAIT OF A LADY, Evelyn Nesbit, by Rudolf Eickemeyer Jr., Otto Sarony, Gertrude Käsebier, George Grey Barnard and James Carroll Beckwith, , with Footnotes. #154

Rudolf Eickemeyer, Jr. (1862–1932)
Evelyn Nesbit, c. 1901
Platinum print
9 in x 6 3/4 in; 22.86 cm x 17.145 cm
National Museum of American History

Rudolf Eickemeyer, Jr. used a wide variety of printing processes, printing out some negatives in more than one medium. In his lectures, he pointed out that this approach to photography was important because in the hands of a photographer who “lives and understands the infinitely varied moods of nature, photography can be made to express and interpret them.” More on this work

Rudolf Eickemeyer Jr. (August 7, 1862 – April 25, 1932) was an American pictorialist photographer, active in the late 19th and early 20th centuries. He was one of the first Americans (along with Alfred Stieglitz) to be admitted to the Linked Ring, and his photographs won dozens of medals at exhibitions around the world in the 1890s and early 1900s. He was famous among his contemporaries for his portraits of high-society women, most notably model and singer Evelyn Nesbit. Eickemeyer’s best-known photographs are now part of the collections of the Smithsonian Institution. More on Rudolf Eickemeyer Jr.

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1 work, PORTRAIT OF A LADY, Studio of Sir Peter Lely’s Portrait of Queen Catherine of Braganza, with Footnotes. #152

Studio of Sir Peter Lely (SOEST 1618-1680 LONDON)
Portrait of Queen Catherine of Braganza
Oil on canvas
101.8 x 78.8cm (40 1/16 x 31in).
Private collection

Catherine Of Braganza, (born Nov. 25, 1638, Vila Viçosa, Port.—died Dec. 31, 1705, Lisbon), Portuguese Roman Catholic wife of King Charles II of England (ruled 1660–85). A pawn in diplomatic dealings and anti-papal intrigues, she was married to Charles as part of an important alliance between England and Portugal.Catherine’s father became King John IV of Portugal in 1640. Her marriage, which took place in May 1662, brought England valuable trading privileges and the port cities of Tangier (in Morocco) and Bombay. In return, England pledged to help Portugal maintain its independence from Spain.

The young queen had little personal charm, and, despite her deep affection for Charles, he paid less attention to her than to his mistresses. When it became apparent that she would bear the King no children, opponents of his brother, James, duke of York, urged him to divorce her in the hope that Charles could then be induced to wed a Protestant. In 1678 they accused Catherine of scheming to poison the King and place his Roman Catholic brother James on the throne. But Charles, who never doubted his wife’s innocence, stood by her until she was cleared of the charges. Catherine helped convert Charles to the Roman Catholic Church shortly before he died in 1685, and in 1692 she returned to Portugal. In 1704 she became regent of Portugal for her ailing brother, King Pedro II. More on Catherine Of Braganza

Peter Lely, Dutch, British, English (Born Soest, Westphalia, 14 September 1618; died London, 30 November 1680). Painter of Dutch origin who spent almost all his career in England and was naturalized in 1662. His family name was originally van der Faes, and the name Lely is said to have come from a lily carved on the house in The Hague where his father was born. Lely was born in Germany and trained in Haarlem.

He moved to England in the early 1640s, and although he first painted figure compositions in landscapes (Sleeping Nymphs, c.1650, Dulwich Picture Gal., London), he soon turned to the more profitable field of portraiture.

Fortune shone on him, for within a few years of his arrival the best portraitists in England disappeared from the scene: van Dyck and William Dobson died in 1641 and 1646 respectively, and Cornelius Johnson returned to Holland in 1643. In 1654 he was described as ‘the best artist in England’. Lely portrayed Charles I and his children, Oliver Cromwell and his son Richard, and other leading figures of the Interregnum. With the aid of a team of assistants he maintained an enormous output, and his fleshy, sleepy beauties clad in exquisite silks and his bewigged courtiers have created the popular image of Restoration England. More on Peter Lely

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1 work, PORTRAIT OF A LADY, Charles Jervas’ Lady Elizabeth Egerton, Countess of Bridgewater, with Footnotes. #151

Charles Jervas (Dublin c. 1675-1739 London)
Portrait of Lady Elizabeth Egerton, Countess of Bridgewater (1687-1714)
Oil on canvas
47 5/8 x 37 5/8 in. (121 x 95.5 cm.)
Private collection

Elizabeth Churchill was the third daughter and co-heiress of the great English general John Churchill, 1st Duke of Marlborough. She married Scroope Egerton 4th Earl of Bridgewater in February 1703.

“Scroop held various high offices at Court in successive reigns; and ‘in consideration of his great merits’ was created in 1720 Duke of Bridgewater. He and his ‘great merits’ are well nigh forgotten, but the memory of his first Duchess still faintly survives, embalmed in the verse of Pope. Jervas, Pope’s friend and teacher in the pictorial art, had painted portraits of this once-famous beauty; and the little bard himself had made various sketches of her, all of which he threw into the fire. Hence several allusions to her in ‘the Epistle to Mr Jervas’ in whose pictures, according to Pope, ‘Beauty, waking all her forms, supplies An angel’s sweetness, or Bridgewater’s eyes’…and…’Churchill’s race shall other hearts surprise.” More on Elizabeth Churchill

Charles Jervas (1675-1739) claimed to be in love with the beautiful Churchill heiress who became his muse and inspiration for many portrait commissions. Taken with her overall beauty, he proceeded to use this as a template for his other portraits, where reality and individual likeness was of secondary importance to a preconceived idea of what constituted an elegant composition and beautiful countenance. Thus Lady Bridgewater’s features can be seen throughout many of his client’s portraits at this time.

This small full-length probably records a lost portrait on the scale of life. Certainly other portraits by Jervas exist which follow this composition but reduced to half or three-quarter length formats. The survival of this copy allows us to appreciate the elegance of the original composition and for the first time shows the noble greyhound at the Countess’s feet.

Don Quixote, 1675 – 1739, came from Ireland in about 1694 and studied painting under Sir Godfrey Kneller. Following a visit to Rome to learn drawing by copying antiques. His home, which he gradually filled with an art collection, became a rendezvous for literary friends: Addison, Swift and Lady Mary Wortley Montagu. More on Charles Jervas

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1 work, PORTRAIT OF A LADY, Glenys Gibson Napaltjarri’s Women’s Ceremony, with Footnotes. #150

Glenys Gibson Napaltjarri
Women’s Ceremony, c. 2019
Acrylic on linen.
102cm x 183cm
Private collection

Glenys Gibson Napaltjarri was born in 1968 in the community of Papunya, roughly 240 km northwest of Alice Springs in the Northern Territory, Australia. Glenys is daughter to the highly acclaimed Australian artist Ningura Napurrula.

Glenys developed her artistic style through watching and learning her ancestral stories, from her mothers, aunties, and grandmothers, which has inspired her signature work, “Women’s Ceremony”.

Glenys’ works have participated in exhibitions all across Australia, leading her to be one artist of great renown in the aboriginal art community.

Glenys uses a vast range of colours to create bands of thick dotted lines that are accompanied with roundels and numerous symbols that represent women who have gathered.

Glenys Gibson Napaltjarri is a 2019 finalist in the prestigious Mosman Art Prize! More on Glenys Gibson Napaltjarri

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1 work, PORTRAIT OF A LADY, Judy Cassab’s The Pink Dressing Gown, with Footnotes. #148

Judy Cassab, (1920 – 2015)
The Pink Dressing Gown, c. 1998
Oil on canvas
76.5 x 95 cm
Private collection

Judy Cassab AO CBE (15 August 1920 – 3 November 2015), was a portraitist of immense insight and imagination. As well as painting social luminaries, royals, fellow artists, family and friends, she was also a prolific draughtswoman and an acclaimed landscape artist.
Born Judit Kaszab in Vienna in 1920, Cassab started painting at the age of 12. She began her formal studies at the Academy of Art in Prague in 1938 but these were cut short by the oncoming Second World War and she was forced to flee the German occupation in 1939. She resumed her studies in Budapest in 1941.

Judit Kaszab and her hsband moved to Sydney with their two sons in 1951, settling in Woollahra. In the following years Cassab established herself as a portrait painter of considerable renown, rendering her subjects with an expressionist style influenced by European modernists.

In 1953 she held the first of what would be more than 70 career solo exhibitions, but it was in 1960 that she came to public prominence when she became only the second woman to win the Archibald Prize. In 1967 she was the first woman to win the prize for a second time. Overall, Cassab exhibited 41 works in the competition between 1952 and 1998. (She also won several watercolour awards for landscape works in the Wynne Prize competition between 1973 and 2003.)

Cassab was made a commander of the British Empire in 1969, then an officer of the Order of Australia in 1988. In 1980 she became only the second female trustee of the Art Gallery of NSW. In 2011 she was awarded Hungary’s Gold Cross of Merit and in the same year she generously donated 400 of her works to small Australian galleries. She died in Sydney in 2015, aged 95. More on Judy Cassab

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01 work, PORTRAIT OF A LADY, Eric Fischl’s Self-Reflection, with Footnotes. #148

Eric Fischl
Self-Reflection, c. 2018
Oil on linen
65 × 50 in, 165.1 × 127 cm
Private collection

Eric Fischl is an American Neo-Expressionist painter and sculptor best known for his figurative paintings and ambiguous, sexually charged imagery. Among his most famous works is Bad Boy (1981), depicting a youth gazing at an older, naked woman splayed on a bed, basking in striping window light. “A precision of composition and figuration is what I’m working toward,” the artist explained. “I’ve always felt viewers should have an experience without having to ask what the hell is was about.” Born on March 9, 1948 in New York, NY, he grew up on suburban Long Island, an environment he has described as “a backdrop of alcoholism and a country club culture obsessed with image over content.” After completing his BFA at California Institute of the Arts in Valencia in 1972, he took a job as a security guard at the Museum of Contemporary Art Chicago where he first saw the work of Chicago Imagists Jim Nutt and Gladys Nilsson. Over the following decades, Fischl has continued his interest in exposing the contradictory nature of suburban America and art history through figurative painting. He currently lives and works with his wife the artist April Gornik in Long Island, NY. Today, the artist’s works are held in the collections of the Art Institute of Chicago, the Whitney Museum of American Art in New York, and the Walker Art Center in Minneapolis, among others. More on Eric Fischl

Images are copyright of their respective owners, assignees or others. Some Images may be subject to copyright

I don’t own any of these images – credit is always given when due unless it is unknown to me. if I post your images without your permission, please tell me.

I do not sell art, art prints, framed posters or reproductions. Ads are shown only to compensate the hosting expenses.

If you enjoyed this post, please share with friends and family.

Thank you for visiting my blog and also for liking its posts and pages.

Please note that the content of this post primarily consists of articles available from Wikipedia or other free sources online.

02 works, PORTRAIT OF A LADY, FRANCESCA WOODMAN, with Footnotes. #147

Francesca Woodman 1958–1981
Photograph, gelatin silver print on paper
Image: 141 × 140 mm
Tate and National Galleries of Scotland

This photograph was taken in 1976 in Providence, Rhode Island during which time Woodman was a student at the Rhode Island School of Design (RISD). This image belongs to a series of five photographs titled the Polka Dot series, which were all shot in the same interior space with Woodman wearing the same polka dot dress…

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