See also my Facebook artist page; you will find lengthier thoughts and views of work in progress there.  Use the contact form below or email me with questions, comments, or requests.  This work is all from 2014 - 2023.  All are archival pigment prints on uncoated BFK Rives paper in editions of 12.  Every one of them has a story of her life, of her time.

She prints 15 x 18"; I'm not yet satisfied as to when she was originally sculpted which will tell who she was - one of Butti's models, cast in bronze in 1918 but I suspect sculpted in about 1890. The plaster original might have a date. The bronze is in Milan's monumental cemetery, where I photographed her.

"Amélie de Montfort at 22, 1869,after Carpeaux" 12.75 x 15” 22 in 1869, betrothed to famous sculptor Jean-Baptiste Carpeaux, 20 years older, who was keenly aware of her noble birth and his own background as the son of a stonemason. Four children and six increasingly awful years followed, his drunken rages, his accusations of affairs increasingly strident, her sorrow increasingly hopeless. Finally, thankfully, he died of bladder cancer at 48. She lived on into quite old age, eventually survived by three of their children. It was never her fault. My model was my photos of her plaster portrait in the Musée d'Orsay in March 2022. The mirror is at Versailles.

She was Cecilia Frisiani, sculpted by Villa who was much enamored of her, even as she was trying to hold her marriage together as her husband was repeatedly posted to Sicily in the course of his military career. Her husband eventually contracted malaria and died, and she soon after married the sculptor, perhaps the best solution in her predicament. She would have been about 25 here and married him about nine years later, thus providing for her still young son; her daughter had died of meningitis as a young child. She wasn't too happy with the sculptor's attentions at that time, in fact, she was much annoyed though she did sit for the portrait. I photographed her in marble in Sarasota in spring 2022. The trees are in Rome. 6/2/2022

"Berthe Pichard Moreau at 24, 1900, after Blay y Fabregas" 10 x 15" 8/5/2021 She married Catalan sculptor Miguel Blay y Fabregas at age 19 in 1895; his marble portrait of her at 24, he 34, after five years of revisions; he successively titled the marble "Sensitive," "Pensive," or "Melancholy," as her mood changed over those five years. She was Parisian, in her manic phases the very life of the salons, not an artist, but inspirational; ongoing and increasing depression enfolded her in the then backwater of Madrid. I photographed the marble and the background in Madrid in 2019, as the October weather turned cold and drizzling.

“Erminia ‘Minuccia’ Vedani at 23, 1931, after Vedani” 2/12/24 16 x 24” $800 Sculptor Michele Vedani's daughter Erminia, nicknamed Minuccia, in the monumental cemetery of Milan, where I photographed the marble portrait he made for her grave. Her health was fragile, her mother died when she was 6, Minuccia the baby of the family, doted on by her father. "Fragile health”: a slow, wasting death from tuberculosis at 23 in 1931. She wouldn't survive, both she and her father knew it. She accepts and is at peace with it, but her loss will tear at those she loves. This is how he remembered her, as she had been for him. He treasured her.

Dolores (Lola) Mora, of Argentina, studied sculpture in Milan with some of the giants of her time, returned to a long career, dying in near poverty in 1936. Here, at 46, she used her self portrait as a mourner on one of the mausolea in Buenos Aires' Recoletas Cemetery, where I photographed the marble self portrait in January 2017. She casts herself as devastated by the passing of the deceased, a finely overwrought figure. She, as other sculptors, gave clues about just how sheer a fabric was to be understood to be: here, her navel shows through on the marble, her nipple a bit but not as much as for some Italians of the time. She prints 14 x 21 in, about 36 x 53 cm. on uncoated French BFK Rives paper. "Dolores (Lola) Mora at 46, 1912, after Mora" 9/6/2021

British academic painter Christabel Cockerell, whose portrait in bronze (my model) was sculpted in 1895 by her husband, sculptor George Frampton. She was 32, the infant Meredith went on to a career in printmaking and painting. Christabel's career is well documented, as are those of her husband and son. George died in 1928, she painted until her passing in 1951, ever exhibiting under her maiden name. I photographed the bronze in the Victoria and Albert Museum, in terrible light, late one afternoon. An oil painting by Arthur Hacker has guided me as to her coloring. I used Utrillo's Montmartre studio as a comfortable room for them.12 x 18” 8/16/22

Napoleon's sister Pauline married to the Roman Borgia (Italian Borghese) for politics. 28, sculpted by Canova; I photographed the marble. Sick most of her adult life, chronic pelvic infection, dead of tuberculosis at 44. Socialites asked how COULD she pose nude? She said, "Well, it wasn't cold." "Pauline Bonaparte at 28, 1805, after Canova" 2/7/22 18 x 27" $1000

I photographed the unsigned, life sized bronze in Milan's monumental cemetery under cold, drizzling, November sky. Professional models hired from the Brera, their names lost in time, as well as the sculptor's; 4 experts don't know who made this. Her younger sisters hold her in awe, and trust. "Blessings of thunder and rain, ca. 1932, after unknown" 2021 26.7 x 39" (69 x 100 cm)

"Solidea Taiuti in the garden, 1941, after Tommasi"" 8 x 12" $250 Edition of 12 archival pigment prints That's a lamb on her shoulders. I found the sculptor's granddaughter on the Internet; she writes that yes indeed, Solidea sat as live model for this marble in the late 1930s, the young wife of her grandfather's friend; she'd be in her late 90s now. I left her in situ in the garden.

Sculpted by Bartolini ca 1835; a faithful portraitist, worked from live models, classicized their features by eliminating them. Models were seen as near prostitutes, anonymity perhaps a favor to them. A statement about models then, this view hiding her face. i photographed the plaster in Florence, Nov 2019. "Stung girl with public, ca. 1835, after Bartolini" 10/13/2021 18 x 27"

She'd been model, assistant, and lover to Rodin since age 19; she went on to a notable career as a sculptor herself. Here, she modeled for Andromeda (chained to a rock, prey to a sea monster) at age 24. I photographed the marble of her in Buenos Aires in January 2017. "Camille Claudel at 24, 1888, after Rodin" 8 x 12 in (20 x 30 cm) edition of 12 archival pigment prints on BFK Rives paper

This was the portrait that started me on this work. Beulah Wheless Bliss, named for her grandmother on whose grave she stands in Savannah, sculpted in marble in 1944 at 14; she's passed on by now. Here she was, caught just as the tears were starting again. I had gone to the cemetery to photograph the subtropical trees, and found this obvious portrait. It is unsigned; I have met and known well one, and seen on the subway in Vienna another, woman who very much resembles this girl. "Gertrude Wheless Bliss at 14, 1940, after unknown" 12 x 8" $250 2015 but I updated her in 2024, having learned a bit more about how best to show her.

She premiered a role in Bellini's "Norma" at 20, in 1831, at La Scala in Milan; Balzico sculpted a plaster of her for his monument to Bellini, this in 1874, about five years after her untimely death of injuries from a train accident. He worked from paintings and photographs, and possibly some other live model as well. I worked from the plaster which I photographed in November 2017 in Rome. I photographed La Scala opera house in Milan in November 2016 (yes, that's the same interior she sang in). "Giulia Grisi at La Scala, 1831, after Balzico, 1874" 18 x 27" Archival pigment print, edition of 12 6/5/18

"Amalia Dainesi Porcheddu in 1902, mourned at 39 after Rubino" 39 x26" She died in childbirth at 39; her sculptor, Rubino, used some of the same women (two models, each used here twice) as models as did his colleague Bistolfi.

At 28 years old, she tenderly comforts her son Ermanno; he died by year's end, age 7, and she bore another first born Ermanno the following year. They are all buried together in Bologna where I photographed their marble portrait. The Lodi family keeps the tomb clean; Gilberta married into the fourth of what is now six generations of bookbinders. I can almost hear his little, uncertain voice: "But why do I have to go, Mama?" She is so very gentle with him. "Gilberta Leporati Lodi and her lost son, 1929, after Barbieri" 2/5/20 18 x 27" (46 x 69 cm) edition of 12 $1000

St. Teresa of Avila , actually her name was Teresa Sánchez de Cepeda y Ahumada in 1545, as imagined by Bernini in 1647, as she would have appeared in ecstasy in 1545 at 30 years of age. It's a small piece, 8 x 12 inches, $250, edition of 12. I'm thinking a lot about Caravaggio's foreshortened faces. "Bernini's Teresa, 1647"

The sculptor’s Bolognese wife, 20 years old here, possibly not married yet but enamored of one another. She died at 29 in her second childbirth, leaving a six year old son. As Minerva, she's bereft at the death of the beloved prefect of the city - all her powers avail nothing in the face of death. She was "Emilia Filonardi at 20 as Minerva, 1863, after G B Lombardi" 18 x 27" 9/22/20

He imagines he is the defender; should he be bested, an attacker will find out what real fury is (I thought of titling this piece "If you get through him, you'll deal with ME"). I've been unable to find out who the model for her was, a comfortable woman in her late 20s. She wouldn't have been the first to also be the sculptor's lover.... 'Her coiled fury, after Boisseau, 1887" 18 x 27" $1000

"Ludovica Albertoni dying, 1674, after Bernini" 18 x 12" $500 Archival print on BFK Rives paper, edition limited to 12. Ludovica Albertoni died of a fever in 1533 at age 60. Bernini used a favorite, overwhelmingly sensuous model, who had been his St. Teresa in (religious) ecstasy 27 years previous. Here, in her late 50s, her ecstasy is that of the soul leaving the body. The body writhes as it escapes. Both actual women were in orders that believed in mortification of the flesh, fasting, self tortures in varying degree and kind; neither Ludovica nor Teresa would have resembled this lush, humid woman. I photographed the marble at the Church of San Francesco a Ripa in Rome.

Pietro Canonica sculpted the love of his young life at 18, he was just 24 himself, likely for a commission of "Susanna and the Elders," which seems not to have been accepted or successfully sold. More formally Tina, his pet name for her was Caterinuccia; in Italian, one lingers on lovely things. His studio from later years is now a museum of his work in Rome, where I photographed her, so I let her remain where I found her. "Caterinuccia at 18, 1893, after Canonica"

Sculptor Bassano Danielli titled her as unknowing of malice; she seems more annoyed and perhaps apprehensive than innocent. She was around 18 or 20 in 1911, long gone by now. "Malice unknown to her, 1911, after Danielli" 18 x 27" $1000

"The sibyl rues the day, 1910, after Secchi" 26 x 39" $2000 Secchi sculpted them of marble for the Dall'Ovo tomb in Milan's monumental cemetery; their spacing let them grieve quietly. I placed them closer together, for more drama. The statues on the tomb are quite stained by a century and more of city air, but luckily there is another copy of the standing woman ("Meditation") in the Palazzo Reale, a perfect, clean piece of marble, to work from. The labyrinth is in the monumental cemetery of Turin, the Parrish-esque sky one early evening in Atlanta. Secchi used the same standing model that Bistolfi and Rubino had in 1902 for works in Genoa and Turin, here a few years older, a bit more comfortable. The seated women, whose bodies show that they've borne children, may have been Secchi's daughters; he at 57, they would have been in their late twenties. It was no longer the case, as in Houdon's day a century previous, that models were seen as little more than prostitutes who commonly came to ignoble ends early in life, it had become respectable both in Italy and France. Imagine: the sibyl rues the day she spoke her prophecy, fearing that having spoken, she might have caused the disaster.

Balzico's wife posed on a blanket atop a rustic wooden stump; the motif of nude in "nature" continues today. Comfortable, a cheerful, secure person, pleased he finds her attractive, after 20 years & bearing children. I photographed her plaster (the step prior to a marble) in Rome. "Ignazia Rocco Balzico at 45, 1880, after Balzico" 18 x 27, $1000 4/11/25

This graceful professional modeled the movements Manship saw on his sojourn in Spain in 1907. Conflating Indian & Flamenco styles, he sculpted a life size bronze which I photographed in Washington DC. I used a Marrakesh patio, a purer patio form than in southern Spain. It's what he had in mind. "Memories of Spain, 1915, after Manship" 9/2021 18 x 27 in.

"Nina, mad from love, aftter Galli, 1854." 26 x 39 inches, or .6 meter x 1 meter. Archival pigment print on BFK Rives paper to last for centuries. $2000; VERY limited edition of 12. My model is the marble in the Palazzo Reale in Milan by Galli. It's in splendid perfection 163 years after Galli sculpted her. Little is recorded of his life, less of who he used for a model here. Her sheer dress would have indicated her purity and innocence. It's a story from an opera of the 1700s: shocked into a break by the news of her lover's death in a duel, she reels backward in vertiginous peril.

The second iteration of the "Faunesse Rampant, 1863. after Carrier-Belleuse". Intent on celebration, she has the powerful build of a Dionysian hostess. Carrier-Belleuse had a good time making portraits of his anonymous models. 2/7/19 $700

Sophie Arnould is described euphemistically as felled by the effects of an undisciplined lifestyle; after-performance parties, arising in the afternoon - she died at 62, much dissipated. Oil portraits of her by de la Tour and Greuze exist, I was guided by their coloring of her, though as above, she rarely if ever saw the sun so was very pale. Star soprano of the Paris opera, singing the part of Iphigenia, the part was created for her by Gluck the year prior to her sitting for this portrait. In Euripides' original the princess was sacrificed for the safety of the Greek fleet against Troy, hence the bare breast, ready for the knife; for Parisian aristocracy, she was spared, as they hoped to be in their turn. Revolution was on its way. I used a palace in Austria for her surroundings, the sort of venue in which she might have performed recitals; I went to Paris, to the Louvre, specifically to photograph Houdon's marble portrait of her, holding the camera far overhead for a better view of her face than one otherwise may see. $500 12 x 18"

It's a terrible story. Rufina's father died when she was five years old, her stepmother (an entertainer from Trieste, met on a tour of sorrow and rebound) sent her to live with her traditionalist grandfather out in the country. For her quinceañera, she went back to Buenos Aires, where a handsome man in his 40s was always around the house, a little boy underfoot, and they gave her sedatives in the evenings for their "alone time." On the day of her nineteenth birthday, the girl was sure the man would propose marriage to her. A servant told her the man was the lover of her beautiful mother, that the little boy was her half brother; she took an overdose of the belladonna extract sedative, was pronounced dead and put in a coffin in Recoleta cemetery by nightfall. Her catalepsy resolved sometime in the next few days, a cemetery worker noticed through the glass window in the tomb that her coffin had moved and he called her mother. She was found to have awakened, and died screaming, nails bloodied, in her coffin. I photographed Aigner's marble portrait of her in January 2017 under cloudy summer skies. I had to add in the sunlight on her side to better show the world she leaves; you may note the odd staircase she's to ascend, the doors won't open against it. She's already trapped in an awful dream that will not end. A large print, .66 x 1 meter (26 x 39 inches). "Leaving the world: Rufina Cambacérès at 19, 1902, after Aigner" 6 January 2018 $2000

"Princess Emily Doria-Pamphilij at 39, 1902, after Canonica" 6/22/18 12 x 18 inches Canonica made a few copies in marble, this one I photographed in the small museum of his work in Rome in November 2017. The Pamphilij contributed a Pope around 400 years ago, they still hold vast wealth; Emily was British nobility, and married into the family. She died in the influenza epidemics, passing away at 56 in 1919. The ballroom is in a palace in Portugal that I photographed in August 2017.

Eleuteria Gregori Brioschi, wife and mother, died at 40 in 1948 and is buried in Milan's monumental cemetery, where I photographed the portrait statue of her by Nando Conti in November 2017; the garden is a modest formal one in Atlanta, left over from the 1920s. "Eleuteria Gregori Brioschi at 40, 1948, after Conti" 18 x 27 inches, edition 12; 6/26/18 $1000

"Widow's Weeds: Cesira Livio at 30, 1933, after Pancera" 12 x 8" 3/28/18 Cesira's husband died at 67 in 1933, she followed in 1948 and is buried with him in Milan. That's his hand under her chin as she mourns him.

Carried off by the flu in 1920 at the age of twelve, she was the cherished daughter of a prominent Parisian chef. "Marguerite Poccardi at 12, 1920, after Boucher". 2016, 18 x 27"; $1000.

"Donna Franca Florio at 30, 1904, after Canonica" Pietro Canonica did some beautiful work for cemeteries; his major body of work was portraits of European nobility. Donna Franca Florio was renowned for her elegance and beauty, born noble but impoverished,and married into wealth; by this time she had had four children (two had died, and yes she wore a corset). She lived to 77, in her final years dependent on her daughter and son-in-law, the fortune long since spent by her dissolute husband who had inherited it. Canonica's portrait, from this view, has her gazing off to the side. I felt it more appropriate for her gaze to confront us, so that we might see her appraise us; she was not accustomed to being stared at, but being the one to stare as she saw fit. The garden is Tivoli, a day trip from Rome, where I had just photographed her marble portrait. I borrowed the distance and garden motif from Da Vinci's portrait of Ginevra di Benci, which I saw many times in Washington DC as I grew up there (Ginevra's hands were cut off the panel at some time, hence the white space for Lady Franca's hands).

Monteverde hired a couple of circus gymnasts for his symbolist, larger than life marble sculpture which I photographed in Rome in 2017. Two views were used, to change the angle of her head. The vertiginous background is from a ceiling in Vienna that I photographed in 2016. Better known for cemetery angels, Monteverde intended this group as an allegory of spirit triumphing over materialism. I'm trying to find out who she was. "Wild Ride, 1911, after Monteverde" 26 x 39" $2000

Pietro Canonica sculpted her in plaster from a photograph, which plaster portrait I photographed in Rome in November 2017; she wasn't entirely happy, pretending to have been playing in her new dress. The bronze from the plaster is on her grave in Turin, she died of typhoid there in 1907 at age nine. "Laura Vigo at nine, 1907, after Canonica" 18 x 27" 1/23/2018 41000

Elina González Acha de Correa Morales at 29 in 1890, sculpted in marble by her new husband, Lucio Correa Morales, one of the foremost sculptors in Argentina; he’d studied at the Academy in Florence for eight years. I photographed the marble in Buenos Aires a few years ago. He was 38, she 29, here cast as Ondine of the Rio Plata; Ondine a water spirit of a sort. He was much enamored of her. She was brilliant, an educator, champion of womens' and indigenous rights, all while bearing three daughters; at this time, his concern was for her youth and beauty and she was pleased with his admiration. 19 x 39" 9/29/23

I photographed the life size bronze in Viktoriapark, Berlin. Ernst Herter (1846-1917), sculpted 1895, cast 1896; his wife, Friederike Elisabeth Herter (née Weisse), modeled for his mermaid . He titled the piece The Fisherman's Rare Catch. I was beguiled by her reaction at seeing who’d caught (and released) her. Relieved simply to be free of the net, she’s turned to behold her savior, and is delighted to behold a big, strapping man. He’s appalled. He never believed such things existed, and now here is one, and he has her attention. 24 x 36” 6/6/24

"Shivering girl, 1783, after Houdon" 12/16/19 8 x 12" Houdon didn't identify her in his letters, she was used by him in several early works; he describes the plight of girls put out as models by their parents. Her scant wrap forces her to choose a little warmth over modesty. We're to understand that she's unlikely to survive the coming night.

Carmela died at 21, Michele Vedani did her portrait in bronze which I photographed in Milan's monumental cemetery a couple of years ago. The mistletoe, symbol of everlasting life, was to assure us that she is fine, having passed on to a world of grace. I love her sensuous enjoyment of the soft, warm, humid breeze caressing her skin. "Carmela Zampori and the south wind, 1920, after Vedani" 12 x 18"

Madame Vicuña, Louise Lynch de Morla,at 20 in the year 1884, in Paris; she was the wife of the Chilean ambassador and an ardent feminist. "Madame Vicuña, 1885, after Rodin" 2015, 18 x 12"; $500. Rodin recorded that she was quite witty.

"Marta Giannini at 8, 1916, after Rebeca Matte Bello" 10 x 15" 1/28/2020 On holiday at Pistoia,Tuscany, not far from her home in Florence, the startlingly beautiful child was caught by a photographer in a spontaneous moment of nearly unnatural grace. It was common practice by 1916, when she died suddenly, to use such a photo as model for a portrait sculpture. I photographed her marble portrait in the monumental cemetery of Florence, the view from Pistoia the next day. Polio.

"Maria Massarelli Acerboni at 21, 1901, after A. Violi" A young, clever, humorous woman, just sitting up at her bed. The young sculptor, Violi (known later as a supporter of Italian fascism), used for his model a casual photograph of her in a nightgown to show her innocence, her trusting nature, her sincerity, and her devoted gaze repurposed for her ascension to an afterlife: this was another of the young women who died often in childbirth, sometimes in the various epidemics that were common and incurable at the time. I photographed her marble portrait in the Milan monumental cemetery. In the photograph, she had awakened just moments before, just focused that gaze, illuminated with the sudden pleasure of seeing her beloved, so entranced that she has not yet thought what to do with her hands. 18 x 27" 6/19/19

She was a skeptical, thoughtful young woman whose bronze portrait of her at 20 or so (likely from a photograph) was commissioned of Antonio Rescaldani for her grave in Milan when she died at 30 in 1922. That life size bronze was my model for her photographic print portrait. "Teresa Almasio Cattorini, after Rescaldani, 1922" 8 x 12" edition 12 $250 9/26/18

I started with the figure on the right, intending a jolly piece for spring. Oh dear.

"Madame Bartholomé née Florence Letessier at 25, 1904, after Bartholomé" 2023 His first wife died of tuberculosis at 37, in 1886, his work became all about grief; he assumed that love and sensuality in his life were over. Florence began modeling for him in 1899, they married in 1901, she 21, he 53, to the consternation even of other artists. He died in 1928, she survived to 76. I photographed her marble portrait in Paris in 2022. She is serenely joyous in her skin, confident of her person. 12 x 15" $300

The sculptor's wife, she sat for a plaster portrait in 1939 at 38, marble in 1940, sent to Argentina where it has been lost and likely destroyed. She was an attentive, lively, very fun conversationalist; with four children by this time, quite secure in her person and life. She is yet delightful. She was Carolina Ferroni Tommasi. “Carolina Ferroni Tommassi at 39, 1940, after Tommasi” 3/1/22 22 x 33”

The sculptor's daughter, she sat for a portrait in the mid to late 1870s, living at home with her younger sister and two Irish maids,so records the 1880 United States census. Richard's brother Horatio stayed on in Rome where both had gone to perfect their craft as sculptors; Richard returned to the US for a long, less celebrated career, romantic Horatio died in his early 30s. I photographed the bust only identified as that of a young woman at the High Museum in Atlanta, Georgia. Portraits of Richard Greenough exist; the family resemblance is striking. It was common to make a bust depicting "holy land" clothing, implying a wish to depict the Virgin Mary; using his daughter also saved modeling costs. I used a garden in Marrakesh for the middle Eastern ambience. Her fond gaze was because she absolutely adored her dad. "Mina Greenough at 28, 1879, after Richard Greenough" 8 x 12 inches 12/27/2018 $250

"Rosa and Elena de Pari, 1926, after Juan de Pari" 7/26/18 26 x 39 inches De Pari (1857-1931) was a Milanese sculptor who emigrated to Buenos Aires at 29, and lived there for 45 years. I photographed these women there (in marble) January 3, 2017. The marvelous gardens are Tivoli near Naples, which I photographed in November 2017.

Mora, Uruguayan photographer, painter, sculptor, lived with Hopi @ Walpi, learned Hopi, photographed them & their ceremonies. Sculpted 1910 from his 1904 ink sketch of this teenager, unmarried hairstyle; she sat calm, waiting w/interest to see what happened next. 116 years later, her life has come & gone. "Hopi girl, 1904, after Mora" 6 x 9" 11/26/2021

"Die plötzliche Erinnerung der Seherin" (The seeress' sudden memory). 1/17/2019 23 x 34.5" In this moment, she recalls that someone dear to her has passed away, and is stricken, letting her roses fall; the person who has died may be herself.

"Nan Condron at 23, 1909, after Epstein" Epstein's bronze portrait of Nan as the virgin Mary, terrified, announcing her baffling pregnancy, hoping not to be stoned to death for it; both Mary and Epstein knew the penalty. Nan was nothing like the Edwardian ideal of beauty: tall, lanky, fancied herself a gypsy, thought at the time to originate in Egypt; a professional model, her clients were willing to buy into the "Oriental" mystique. Epstein later said he modeled the figure in the 1920s but by then his work had moved on from the expressionist bent he had used for his other portraits of Nan, so I believe he sculpted her at the same time as those. 9/19/2023 and 4/11/25 12 x 18 inches $500

"Clothilde Enid Ford at 12, 1889, after E. O Ford 25" The sculptor's 12 year old daughter modeled for a bronze portrait as an imaginary ancient Egyptian singer/harpist. The age of consent was 16, so her father could consent for her modeling for fine art. She's been on view in bronze at Tate Britain in London since 1894. I photographed her there in March 2022. approx. 40 x 15" 4/10/2023

A young woman innocent of life's slings and arrows, hair abundant, face shining. I borrowed the nimbus idea from Grunewald's Eisenheim altarpiece,1536. I photographed her marble portrait in the Musée d'Orsay, Paris. Two views of her combine here for modesty; Puech's intent was to show ecstatic joy. "A girl named Dawn, April 16, 1900, after Puech"