Dr Robert Bohanさんのイラストまとめ

The first known early modern Scottish artist was, George Jameson (1589/90-1644), from Aberdeen. Walpole described him as ‘the Scottish Van Dyck’. Mary Erskine (1626), Portrait of a Lady (Attrb, nd) & Self-Portrait (nd)

In the 60s, with the pregnancies of her friends she began a series of pregnant nudes. She wanted to show a fact of life & normalise a reality. She became a feminist icon. Nancy & Olivia (1967), Richard Gibbs (1965), Hugh Hord (1964) & Hartley (1966)

By the end of the 50s her work was gathering interest amongst the avant-garde. Two Girls, Spanish Harlem (1959), Tree (c1959), Sam (1958) & Boys on 108th Street (1955). Children were always central to her work & she explored their depiction with equal psychological intensity

We have relatively few political works by her as to live her life was a political act in itself. Each picture is imbued with the sense of union in diversity. Eisenhower, MacCarthy & Dulles (1953), Rita & Hubert (1958), Skull (1958) & George Arce (1959)

Post WWII she became more involved in Communist circles, including illustrating works. Her politics led the WPA to withdraw support & she lived on the edge, even shoplifting. Ballet Dancer (1950), Richard & Hartley (1950), Phyllis Rubin (1952) & Richard (1952)

Neel’s sitters were drawn from friends, neighbours & family. She was equally interested in everyone around her. Hers is a universal vision. Baby on Blue Sofa (1939-40), Central Park (1946), Dick Bagley (1946), the Sea (1947)

In the 1930s she moved to Spanish Harlem & painted neighbours & her first nudes. In the latter she challenged the standard view of how a naked woman should look. My Mother (1930), Nadya & the Wolf (1932), Alice (1932) & Joe Gould (1933)

During the Depression she worked for the WPA. She began to gain some recognition. Nadya & Nona (1933), Ninth Avenue EL (1935), the Dream (1936) & Sheila (1938)

Neel returned to NY where her 1y old daughter died of diphtheria. This informed her treatment of motherhood, loss & anxiety. The birth of her 2nd child inspired the bleak ‘Well Baby Clinic’ (1928). Carlos (1926), After the Death of a Child (1927-8) & Nadja (1928)

She married in 1924 & graduated a year later & moved to Havana. She was influenced by ideas of equality & was a member of the Cuban avant-garde. Contrasts (1927), Requiem (1928), Degenerate Madonna (1930) & Ethel Ashton (1930)