Judith H. Dobrzynski
Judith H. Dobrzynski
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Pundicity: Informed Opinion and Review
 

Latest Articles

'O'Keeffe, Stettheimer, Torr, Zorach: Women Modernists in New York' Review
An exhibition, premised on the view that gender limited the careers of these four artists, hopes to raise their profiles.

August 25, 2016  •  The Wall Street Journal

West Palm Beach, Fla., and Portland, Maine

Why devote an exhibition to "women" modernists? For centuries, female artists have fought to be taken seriously as just "artists," without any modifier that could be seen as limiting. "O'Keeffe, Stettheimer, Torr, Zorach: Women Modernists in New York," organized by the Norton Museum of Art in West Palm Beach, Fla., and now on view at the Portland Museum of Art in Maine, is premised on the view that gender limited the careers of these four—deemed "some of the most significant modernists in American history"—and attempts to provide the exposure that might lift them into the Western art canon.

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"America After the Fall: Painting in the 1930s" - Bullish on Creativity
Economic hardship helped spur the search for a national artistic identity.

August 24, 2016  •  The Wall Street Journal

Chicago

The 1930s were unsettling years. During the Great Depression, widespread unemployment fueled discontent, xenophobia, racial tension and disillusionment with the nation's direction. Yet artists grappled with the idea of a national art that would help forge a new American identity. It was to be specific to this country, expressing national values and addressing native themes.

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Masterpiece: The Girl With the Sidelong Gaze
In 'Portrait of a Young Girl,' Petrus Christus made his subject real but mysterious, fetching but inviolate.

August 13, 2016  •  The Wall Street Journal

"Portrait of a Young Girl" (c. 1470) is a small, seemingly simple picture, measuring less than 9 inches by 11.5 inches. Painted in oil on oak by Petrus Christus (c. 1410-1475/76) in a cool, muted palette, the girl wears almost no expression. She's not conventionally pretty. Yet there's something inexplicably captivating about her that pulls you in and holds your attention, almost unwillingly.

How did Christus create such visual power? In a masterly way, he embedded the painting with clues about the sitter's social status and the period in which she lived, but he left her an enigma. He made this young girl real but mysterious, fetching but inviolate.

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'William Merritt Chase: A Modern Master' Between Old and New
His career stretched from the twilight of the Hudson River School to the rise of American Modernism.

August 11, 2016  •  The Wall Street Journal

Washington

If history had not caught William Merritt Chase in something of a vise, and if he had not been such a wide-ranging master of the brush, he might be far better known than he is today.

Chase (1849-1916), acclaimed in his lifetime on these shores and internationally, was often brilliant, sometimes daring and always assured. He could paint interiors, portraits, landscapes, urban park scenes and still lifes. He painted like an Old Master, a realist and an Impressionist. He was renowned as a teacher, counting Edward Hopper, Georgia O'Keeffe, Marsden Hartley and Charles Demuth among his many pupils at several art schools.

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A Firmly Anchored Collection Redefines "Marine" Art
A Look at the Minnesota Marine Art Museum

August 3, 2016  •  The Wall Street Journal

Winona, Minn.

It's almost de rigueur now. Once a rich collector accumulates a critical mass of art, the next step in attaining social esteem is building an eye-catching museum to show off the array. There are hundreds of them in art centers around the globe—some public, some private, most focusing on contemporary art.

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