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Entries in Sculpture (4)


Elizabeth Catlett: An Icon of Expressionism

Elizabeth Catlett - Woman Fixing Her Hair - 1993 - Magogany and opals - 27 x 18 x 13 in. (68.6 x 45.7 x 33 cm) - Metropolitan Museum of Art, New York African-American born sculptor and printmaker Elizabeth Catlett (1915-2012) is best known for the sculptures and prints she produced during the 1960s and 1970s—which are seen as politically charged. Her works often focus on the female experience.

Born and raised in Washington, D.C., Catlett graduated from Howard University in 1935. She later received a master’s degree from the State University of Iowa.  During the 1940s, Catlett taught art at a number of schools and began to exhibit with other African American artists who would go on to equally illustrative careers, including Robert Blackburn, Jacob Lawrence, Hughie Lee-Smith, Norman Lewis, Archibald Motley, and Charles White. She became the “promotion director” for the George Washington Carver School in Harlem. In 1946, she received a Rosenwald Fun Fellowship that allowed her to travel to Mexico, where she studied wood carving and ceramic sculpture at the Escuela de Pintura y Esculture, in Esmeralda. She later moved to Mexico, married, and became a Mexican citizen.

Her work is a mixture of the abstract and the figurative, in the Modernist tradition, with clear influences from African and Mexican artistic traditions, as well. According to the Catlett, the main purpose of her work is to convey social messages rather than pure aesthetics. While not very well known to the general public, her work is heavily studied by art students looking to depict race, gender and class issues.

Woman Fixing Her Hair is a late sculpture that embodies the characteristics of her best work. Its subject, a nude woman caught in the act of her daily toiletry, is familiar and empathetic. Melding human form and furniture into a seamless whole, the artist navigates a line between abstraction and realism, cubism and biomorphism. Her exquisite handling of natural material-the smoothly polished mahogany and luminous opals-conveys the beauty that she sees in her subject matter.” (Metropolitan Museum of Art, NYC)


Picasso’s She-Goat

Pablo Picasso - She-Goat - Vallauris - 1950 (cast 1952). Bronze, 46 3/8 x 56 3/8 x 28 1/8" (117.7 x 143.1 x 71.4 cm). Mrs. Simon Guggenheim Fund - Museum of Modern Art (MoMA) New York (click photo for larger image)Pablo Picasso's studio in the town of Vallauris (in the Provence-Alpes-Côte d'Azur region in southeastern France) where he worked beginning in 1948, was next to a yard into which potters threw debris—pieces of metal and shards of ceramics. After deciding to sculpt a goat, Picasso (1881-1973) searched the yard for discarded materials that could suggest parts of the animal's body. He crafted a skeleton with these objects, and filled out the sculpture with plaster. A wicker basket forms the goat's rib cage; two ceramic jugs were modified to serve as its udders. Flat palm fronds shape the slope of the goat's spine and the length of its snout, and metal scraps are used as structural units throughout.


“A Universe of Puzzles” The Art of Tom Wills – May 27th – June 11th

(click photo for larger image)Anderson Chase Gallery is announcing an upcoming exhibit featuring the work of Ossining, NY artist Tom Wills. Tom’s has been a life working with his hands—building custom houses, blacksmithing, farming, lumbering on a 130-acre rural Maine homestead, working on the restoration of the Watts Towers in California, and working on an architecture school in Boulder.  

Ossining New York artist Tom Wills creates art inspired by our everyday humanity and its dynamic energy. The ethical tensions of our world are a major theme in his work—along with the expanding universe and its puzzles, as seen through the lens of science. 

Tom combines different printing techniques and hand coloring in a variety of ways, using a broad range of inking techniques and materials. He also brings many years of carpentry to his work, using an array of tools. Metaphors for his art emerge from his sketchbooks, photos, computer graphics, and combinations of these resources.

Tom also creates series of multi-material collages made from various “bits and pieces” as well as “backyard works” (dubbed Don’t Fence Me in)—comprised of painted collages called Scats. Tom has just completed a series of wood sculptures, as well, called In This Neck of the Woods.

The art of Tom Wills will be on exhibit at The Anderson Chase Gallery, at 65 Old Bedford Road, Goldens Bridge, NY, from 5/27 though 6/11. The Opening Reception will be held on Saturday, May 28th  from 3:00 – 6:00 PM.


To learn more about this event, please contact

Anderson Chase Gallery - 65 Old Bedford Rd. Goldens Bridge, NY 10526

Phone: (914) 232-4843



A Sad Story…

Camille Claudel (1864-1943) French Sculptor and Graphic Artist - Young Girl with a Sheaf - before 1887 - lifesize - Musée Rodin - Paris (click photo for larger image)(Left) Camille Claudel - Young Girl with a Sheaf - before 1887 - lifesize - Musee Rodin ; (Right); (Right) Auguste Rodin - Galatea, 1889 - lifesize - Musee Rodin - Paris (click photo for larger image)Camille Claudel (1864-1943) was Francois-Auguste Rodin’s (1840-1917) much younger student, muse and then mistress.  When he left her, she eventually destroyed many of her works and years later died alone in a psychiatric hospital.  A tragic story underlies the great tenderness in the pose. Claudel met Rodin as a studio assistant in 1884 and soon became his lover. During this time—through to 1898—she was both the inspiration and the model for the sculptor’s vision of the female body. Some authors have suggested that Henrik Ibsen based his last play, 1899's “When We Dead Awaken”, on Rodin's relationship with Claudel. If one compares Rodin’s work with Claudel—it’s easy to see that whatever influenced existed was most definitely reciprocal. Note that Claudel’s work was created first.