I am always trying for a visual synthesis of the sensual realism in Baroque still lifes and the cerebral structure of cubist still lifes, not quite there yet, but I am reconciled to the fact that painting is about striving rather than arriving.
The past ten years have been incredibly transformative physically, mentally, and spiritually. There is real richness there, something magical and beautiful, which I’m not sure yet how to translate into art.  I am looking forward to creating a body of work that comes from my core. I can feel the stirring and rumbling within, it is coming!
Anne Eisner came of age in the 1930s and 1940s, during the struggle among artists and intellectuals to combat fascism and create a better world. After studying at the Art Students League, she left a successful career as a painter to follow Patrick Putnam, with whom she had fallen passionately in love, to Epulu, a multicultural community in what is now the Democratic Republic of Congo.
Kollwitz’s art was both a response to the suffering of others and a processing of personal experience. For Kollwitz, character born of hardship was indistinguishable from—lo, was the necessary source of—beauty.
As all portrait artists know, there is something solemnly ceremonious about the full-profile position. We do not make eye contact—that being somehow beneath the authority of the subject—just as the set mouth seems to be not just momentarily, but eternally, silent.
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