Intern Curated Exhibition: Women by Women Installation ShotRidderhof Martin Gallery Installation ShotRidderhof Martin Gallery Installation ShotRidderhof Martin Gallery Installation ShotRidderhof Martin Gallery Installation ShotRidderhof Martin Gallery Installation ShotRidderhof Martin Gallery Installation ShotRidderhof Martin Gallery Installation ShotRidderhof Martin Gallery Installation ShotRidderhof Martin Gallery Installation ShotRidderhof Martin Gallery Installation ShotRidderhof Martin Gallery Installation ShotRidderhof Martin Gallery Painting a Ballerina (Also known as, Lady Painters), Phyllis Ridderhof MartinIn this work, Phyllis Ridderhof-Martin showcases female creativity and artistic expression through the image of two women in an art class painting a ballerina. The warm lighting and bright, varied colors which dominate the painting create a cheerful atmosphere and highlight the creative nature of the subject matter. While the two artists are painting the same model, their works differ, demonstrating the way individuality manifests through creative expression. –Julia Petracca ‘22 Self-Portrait, Phyllis Ridderhof MartinIn this self-portrait, one of many she created over the course of her career, a grey-haired, bespectacled Phyllis Ridderhof Martin gazes calmly out at the viewer. The forms of her head and facial features are defined by naturalistic shading and expressionistic color. The steel blue tone of background is echoed in her hair and eyes and contrasted with the warm, bright flesh tones of her face. –Julia Petracca ‘22 Untitled (Head of a Woman with Headdress), Phyllis Ridderhof MartinWhile Phyllis Ridderhof Martin’s portraits often highlight the unique personalities and features of her models, the female subject here is drawn plainly and takes up little compositional space in comparison with her large Edwardian hat. The artist pays homage to the creativity of fashion, a traditionally female-centric form of expression often seen as frivolous. –Julia Petracca ‘22 Dark Place, Helen MirkilMirkil’s Dark place shows a woman in glasses. Her face is distorted, so we only see one eye and some of her mouth. This self-portrait is done in charcoal and pastel on paper. Mirkil looks at self-portraits to discover what’s inside, not to capture likeness. She values honesty and the search for a cord of truth. In this portrait, she focuses on the eyes. She said, “Who I found the day I created this particular image was grieving, who is in the most difficult time of her life.” –Alana White ‘22 Rabbi, I want to see (Mark 10:51), Helen Mirkil“Rabbi, I want to see” is a quote from the Bible. It comes from a conversation between Jesus and a blind man. This oil pastel drawing depicts a thin woman with blue eyes and red hair in a green shirt. Mirkil created this self-portrait after a painful marriage had ended and was in the process of healing. She noted, "Part of the feeling in this self-portrait is gratitude for His wide, welcoming, loving arms. He invited me in, gave me hope. Still does.” –Alana White ‘2 Self-Portrait no. 1, Phyllis Ridderhof MartinThis impressionistic self-portrait depicts an ambiguous side of Phyllis Ridderhof Martin. The pale, cloudy background against which she is seated bleeds into her white garment, creating the appearance that she is floating. Her gaze is directed off to one side, contributing to her aura of mystery. –Julia Petracca ‘22 Untitled (Reclining Nude with Bouquet), Phyllis Ridderhof MartinPhyllis Ridderhof Martin’s interest in the female subject is well documented throughout her career. In this painting, a nude woman holding a bouquet lies down gracefully in an abstract landscape. The woman’s body and the landscape elements surrounding her are executed with long, confident brushstrokes. Ridderhof Martin enhanced the atmospheric effect of the piece using warm colors to describe the female figure’s body in the foreground, and cooler tones that gradually recede into the background. –Madeleine Almand ‘22 The Golden Window, Dorothy Duggan van WinckelIn this tranquil pastel drawing, a young woman sits before window on a sunny day. The sitter's facial features are highly individual, but her expression is blank, revealing little of her personality. The work's true subject is the warm light that streams through the blinds, encircling her head like a halo and bathing her in its gentle glow. --Julia Petracca '22 Miranda Rights, Timmerman DaughertyPermanent Collection. In this sculpture, Timmerman Daugherty pays homage to Brazilian entertainer Carmen Miranda, the title being a pun on Miranda’s name and the Miranda warning given to suspects in police custody. Miranda became an icon in the United States during World War II, functioning as a pop culture representative of Franklin D. Roosevelt’s “Good Neighbor” policy towards Latin America. The vibrant tropical fruits and vegetables piled atop the figure’s head recall the hats famously worn by Miranda in popular 1940s films such as The Gang’s All Here. --Julia Petracca '22 Untitled (Single Standing Figure), Phyllis Ridderhof MartinPhyllis Ridderhof Martin depicts an assertively posed nude woman in this figure study. The subject casts her eyes downward with hands placed firmly on her hips. Confident pen strokes sculpt the woman’s body, creating depth and a sensation of movement. –Jasmine Nixon ‘22 Pensive Model, Dorothy Duggan van WinckelThis subject’s frontal pose and direct gaze are striking. Using pastels, Dorothy Duggan van Winckel describes the likeness of a woman who is deep in thought. Her tilted head and furrowed brow combined with her outward gaze draw the viewer in. Again, Van Winckel demonstrates an interest in the interaction between her work and the viewer. Here she invites us to consider what could be on this woman’s mind. --Jasmine Nixon '22 Beach Belle, Phyllis Ridderhof MartinPhyllis Ridderhof Martin painted a nude woman lying on the ground in a relaxed pose. Again, Ridderhof Martin used a limited palette of green, orange, yellow, and blue. Despite selective application of color, she did not define the female subject’s facial features, leaving the viewer to fill in the blanks. –Jasmine Nixon ‘22 Fashion Sketch ca. 1940s, Phyllis Ridderhof MartinThis fashion sketch by Ridderhof-Martin depicts a woman dressed in a long double-breasted coat with peaked lapels and high peep-toe heels. The woman accessorizes with black gloves, a black frame bag, and a black fascinator perched on her head. Ridderhof Martin used pen and ink to produce this highly finished image. –Alana White ‘22 Mirror Mirror, Timmerman DaughertyPermanent Collection. This ceramic mosaic by Timmerman Daugherty is teeming with life. Soft pastels and vibrant greens imbue the work with a sense of vitality. The torso of the female form is overgrown with spring flowers and surrounded by various birds. Perched atop the figure’s head is a small baby, evoking themes of fertility and rebirth traditionally associated with women as well as spring. --Julia Petracca '22 Untitled (Reclining Head), Phyllis Ridderhof MartinIn this sketch, Phyllis Ridderhof-Martin renders the contemplative face of a reclining woman in ink and watercolor. Rather than idealizing her subject, Ridderhof-Martin portrays her authentically,emphasizing her humanity and relatability over her beauty. The rich, dramatic shading of the subject’s face highlights the depth and richness of her personality, contrasted against the bleak void into which she stares. –Julia Petracca ‘22 Untitled, Dorothy Duggan van WinckelThis painting shows a young woman seated in profile. Her facial features are obscured, her expression is blank, and although she is depicted in the nude, Van Winckel refrains from showing her body below the shoulders. This allows the viewer to focus on the artist’s expressionistic use of color, particularly blue, green, and red tones, and keen eye for light and shadow. –Julia Petracca ‘22 Untitled (Nude in Doorway), Phyllis Ridderhof MartinUnlike the elegantly posed female figures frequently seen in art, the subject of this painting stands with her back to the audience, staring out the open door as if lost in thought. The painting’s bright colors and wild brushstrokes create a joyous and energetic atmosphere in contrast to the woman’s contemplative stillness. The viewer may share in this private, mindful moment, but the subject’s thoughts and feelings are hidden from us; although her nude body is visible, her facial expression is concealed. –Julia Petracca ‘22 Untitled, Dorothy Duggan van WinckelIn this painting, Dorothy Duggan van Winckel applies her characteristic eye for light and color to a scene of a young woman seated in her living room. The subject gazes downward, peacefully lost in her own world. A warm, golden glow permeates the composition, creating a tranquil atmosphere, and Van Winckel’s use of bright, rich blues, greens, and reds is visually captivating. –Julia Petracca ‘22 Seated Nude, Phyllis Ridderhof MartinIn this painting, Phyllis Ridderhof Martin captures the likeness of a partially nude female sitter. The subject’s stoic expression and exposed upright posture convey a sensation of confidence. Bold strokes in green and purple fill the background, contrasting against the rosy flesh tones of the woman’s skin. Ridderhof Martin’s use of light and shadow enhances the warmth and depth of the scene, drawing the viewer in. –Jasmine Nixon ‘22 In Shining Armor, Timmerman DaughertyThis sculpture depicts the head and torso of a woman enveloped in brilliant, colorful sequins and rhinestones arranged in mesmerizing patterns. The figure’s glittering exterior and the mask affixed to her forehead distract from the fact that her face, gazing downward and obscured by a black mesh veil, bears a sorrowful and downtrodden expression. The tension between her external façade and her vulnerable internal reality is palpable. --Julia Petracca '22 Untitled (Nude), Phyllis Ridderhof MartinWith broad brushstrokes and vibrant colors, Phyllis Ridderhof Martin portrays a nude female model seated on a red chair. The subject’s pose is relaxed with wide legs and hands clasped around her stomach. Perhaps lost in thought, she casts her gaze downward. Ridderhof Martin’s limited palette of red, green, and yellow enhances the contemplative mood of this piece. –Jasmine Nixon ‘22 Untitled (Two Nudes), Phyllis Ridderhof MartinThroughout her career, Phyllis Ridderhof-Martin dedicated considerable time to life drawing, focusing heavily on the female nude. This sketch shows two models posing comfortably in bed as if enjoying a private moment of intimacy. While the viewer is permitted some insight into this scene, their faces and much of their bodies are obscured by a large ink stain. This reminds the viewer that despite the subjects’ exposure, their personalities remain unknown to us. –Julia Petracca ‘22 The Red Head Band, Dorothy Duggan van WinckelVan Winckel’s The Red Head Band is a visually striking work of art. First to capture the viewer’s attention is the vibrant “red head band” of the central figure, who rather gloomily looks out at the viewer with round black eyes. Such eyes are an element seen in several of Van Winckel’s works and can likely be attributed to her interest in exploring different moods and sensations in her work. --Madeleine Almand '22 Untitled (Portrait of a Woman with Brown Hair), Dorothy Duggan van WinckelWhen asked to describe her approach, Dorothy Duggan van Winckel noted her interest in presenting unconventional points of view and specific sensations or feelings. The woman in this portrait encapsulates Van Winckel’s interests. Her strained pose and direct gaze are moody, leaving the viewer with an ambiguous feeling. More than the woman’s beauty, Van Winckel emphasized the visual experience and interaction between subject and viewer. --Madeleine Almand '22 1992.5.14In this painting, Phyllis Ridderhof-Martin returns to the female nude figure, a recurrent theme in her work. The subject represents a classical theme in a modern style characterized by schematic forms, visible brushstrokes, and rich earth tones juxtaposed against the vibrant, serene blue of the ocean and the central figure’s wide-open eyes. While the faces of the figures on the left and right are obscured, the central subject’s face is not. She smiles at the viewer acknowledging their gaze. –Julia Petracca ‘22 Untitled (Seated Nude), Dorothy Duggan van WinckelIn this work, Dorothy Duggan van Winckel captures the body of a nude female. The former Professor of Art and founding member of the UMW Galleries often explored the limits of color and composition in her own work. Here the focus is placed less on the woman as an individual and more on the woman as an object in space. Van Winckel experimented with the interplay of light and color, considering its reaction with the figure’s body. The momentary quality of the painting shares much in common with the art of the Impressionist movement. –Madeleine Almand ‘22 Untitled (Profile of a Woman), Dorothy Duggan van WinckelThis drawing by Dorothy Duggan van Winckel realistically depicts the profile of an elderly woman gazing wistfully off into the distance. Although half her face is obscured, the aura of her expression is profound and captivating. Van Winckel demonstrates a shrewd eye for detail, showcasing features such as the nose and ear-piercing holes which make the sitter’s appearance distinctive. –Julia Petracca ‘22 Untitled (Seated Female Figure), ca. 1918–22, Phyllis Ridderhof MartinThe woman depicted in this drawing sits wearing a short dress and heeled shoes. She also wears stockings and rolled garters, which were common before the advent of elastic. Her hair is cut into a short curly bob and is carefully styled. This was an early work by Ridderhof Martin. We know this because she signed the piece with her maiden name, Phyllis French. –Alana White ‘22 Beauty Shop Saturday, Dorothy Duggan van WinckelThis work showcases the fixtures of a typical beauty shop, featuring a hair dryer and a bright orange pair of scissors alongside the nude figure of a woman. Beauty shops are traditionally female-centric environments and are thus often associated with female bonding. The work’s cool, muted tones create a peaceful ambiance reminiscent of a relaxing salon appointment, juxtaposed against the jumbled forms and pops of bright, warm color which evokes the chaotic atmosphere of a busy salon on Saturday afternoon. –Julia Petracca ‘22 Untitled (Nude Female), Dorothy Duggan van WinckelThis charcoal drawing portrays a seated nude woman staring solemnly out at the viewer. Because her legs are unfinished one can infer that Dorothy Duggan van Winckel first observed this posed figure in a life drawing session. The high finish on the rest of her body suggests that Van Winckel returned to the drawing later on. –Jasmine Nixon ‘22
