1980. Oil on canvas. 54 x 40.
I do not pose my sitters…. Before painting, when I talk to the person, they unconsciously assume their most characteristic pose, which in a way involves all of their character and social standing—what the world has done to them and their retaliation. Alice Neel
Elbows planted
on the arms of a blue and white striped chair.
on the arms of a blue and white striped chair.
One hand holds a paint brush
across the top of her breasts,
from the other a white cloth flows.
White hair piled on top of her head,
pink cheeks, deep lines, arched brows
a horizontal slash
of frame above round glasses.
Body half turned. Eyes looking at you.
across the top of her breasts,
from the other a white cloth flows.
White hair piled on top of her head,
pink cheeks, deep lines, arched brows
a horizontal slash
of frame above round glasses.
Body half turned. Eyes looking at you.
Her breasts, mellowing, frame
a comfortable belly resting
a comfortable belly resting
between sturdy thighs.
One foot on the ground.
The other, closest to us, is flexed, ready
to spring into the next project –
a portrait of a CP union organizer,
One foot on the ground.
The other, closest to us, is flexed, ready
to spring into the next project –
a portrait of a CP union organizer,
a pregnant woman, a mother and child,
a company president, a poet,
two old Russian brothers holding
their struggle in knotted hands.
two old Russian brothers holding
their struggle in knotted hands.
The shadow on the wall behind her
leads the eye to her face, to her eyes.
The shadow looks like Mt. Everest.
The three visible legs of the chair are straight,
the exact color of her own whimsical
ready-to-go legs. The linear stripes of the chair
play with Neel’s nude rounded curves.
Her head pushes
into the top of the frame. She is not smiling.
She is looking intently at her subject, which is you
leads the eye to her face, to her eyes.
The shadow looks like Mt. Everest.
The three visible legs of the chair are straight,
the exact color of her own whimsical
ready-to-go legs. The linear stripes of the chair
play with Neel’s nude rounded curves.
Her head pushes
into the top of the frame. She is not smiling.
She is looking intently at her subject, which is you