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Last item added: 2017.2 Henri, Sylvester
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George Bellows
Date: 1909
Credit Line: Terra Foundation for American Art, Daniel J. Terra Art Acquisition Endowment Fund
Object number: 1999.5
Text Entries: A symphony of paint, this larger-than-life portrait displays George Bellows' predilection for capturing an individual's psychological state of being. Bellows makes no attempt to romanticize or sentimentalize his depiction of the (hired) model Miss Leslie Hall. His "fleshy" rendering, in fact, achieves quite the opposite effect-she appears more real than ideal. This is further emphasized by Bellows' inclusion of shoes, a ring and hair accessory on Miss Leslie Hall; she becomes "naked" and not "nude," in contrast to Robert Henri's symbolic female in Figure in Motion. Removing her body from the privileged status as a canonical work of art to the realm of the "real," Bellows created a psychological portrait of a woman whose direct gaze confronts the viewer.