AFA Summer 2018

Summer 86 www.afamag.com |  www.incollect.com soothing blues and greens create a rich juxtaposition in Zinnias (Fig. 9). The young model in her plain summer dress is in deep thought. The simplicity of her gesture, expression, and composition against a landscape of sparring colors, makes this painting a resounding success. Nude in Interior (Fig.10) is a profound and daring piece that speaks to the liberating forces occurring in society at the time and is an example of Fiske’s transition of the female model as moving from object to subject. This image shows the sitter, not as a component of the scene, but as the scene itself. The viewer is drawn to her expression and her body language. As compelling as the subject is, the viewer is directed to the image of the painter at work ref lected in the mirror. This is a tool that Fiske used repeatedly to underscore the importance of her trade. Bird of Paradise, Sleeping Nude (Fig. 11) was both commended and dismissed by critics. Controversial because of its honesty, conservative critics felt it was scandalous, while others praised it for its confidence. Fiske painted several nudes, but none quite as provocative and intimate as this painting. Here, she offers an unusual presentation of a foreshortened figure shown blissfully relaxed and unaware. The warmth of the air and textiles are palpable. Combined, these features create an honest portrayal of a real woman when no one is looking. “A Virile Note” Toward the end of the nineteenth century, art critics used feminine qualities as the high standard of art. The goal was to convey propriety and style, beauty and refinement. The early years of the twentieth century brought with it a backlash. Fearing an “effeminization of American culture,” art critics began to use and Fig. 7: Gertrude Fiske (1879–1961), Strollers, 1926. Oil on canvas, 36 x 40 inches. Photo by Jay Willis.