From Sofonisba Anguissola to Marguerite Thompson Zorach 26 Still Life Paintings using the Pear as a Metaphor for their work and their.
Download ReportTranscript From Sofonisba Anguissola to Marguerite Thompson Zorach 26 Still Life Paintings using the Pear as a Metaphor for their work and their.
Slide 1
From Sofonisba Anguissola to Marguerite Thompson Zorach
26 Still Life Paintings using the Pear as a
Metaphor for their work and their lives.
By Coni Minneci
My awareness of the inequities that have historically plagued
the recognition and accomplishments of women artist
compelled me in 2001 to write a paper entitled “ Women in
Art history: A – Z”, as a part of my studies at Empire College.
A few years later, the painting series was begun. These 26
paintings, created over a period of three years, was the result
of my reflection on the notes and other documentation that I
had gathered, and allowing the work and life of each of these
women to influence me and inspire an original still life
painting. Working with subliminal impulses and intuitive
thought, I conceived each work. Some came easily, and others
were perplexing visual challenges.
A woman renowned in her own time as a portrait
artist. I hid her image within this simple
composition as she hid a woman in her self
portrait. Can you find her?
“Self Portrait at the
Clavichord” 1561
Ahhh, Jennifer, stardom at a young age in the art
circles of America. Symphony of visual poetry,
simplified shapes, rhythm and repetition. A star in
the spotlight.
Detail from “Rhapsody” 1975
This outspoken Feminist artist has written seven
books and is exhibited world wide. I did to the
pear what I believe she thinks the history of art
has done to women.
“The Dinner Party” 1979 Five years in
the making, this installation recognizes the
accomplishments of 39 women in history.
Included in this image are fragments from her
early “Cubist Quilt” art, the thread floats within the
painting, representing three segments of her life:
artist-mother-wife.
A scene form the film “Le p’tit Parigot” (1926) with
costumes by Sonia and paintings on the wall by
Robert.
Her talent was hidden until the death of her
famous artist husband, Thomas Eakins. Color is
limited and an unopened flower is a symbol of
her talent waiting to bloom.
“Two Sisters” 1879 oil on canvas
Successful in the times she lived in, an amazing
figurative painter, she challenged me to try to
paint contrasting textures. This small attempt
tries to honor her.
“Portrait of a Noblewomen” 1580 National
Museum of Women in the Arts, Washington D.C.
A Buffalo artist whose work transcends space and
time. Her pear has floating text, and a small
globe, just a peak into Gordon’s world.
“Presenting Evidence” Albright-Knox Art Gallery
2002, a recreation of Gordon’s studio.
A woman who abandoned Abstract Expressionism
to investigate “Painting Art History. My image is
reactionary to her early works regarding
advertisement in America .
“December Second” 1959 Oil on Canvas
48 x 72 in.
NMWA
Responding to her book: “Juchitan de las Mujeres”, I
painted pears reflecting the strong-willed large bodies
women, the matriarchal community in her photoessay, who preserve their culture and traditions.
Juchitan de las Mujeres 1989 A community in
the far south of Mexico, with Zapotec-influences.
The title “Queen Mother” of African American Art was
bestowed upon her by her students & admirers.
Struggles against prejudice and criticism forced her to
have multiple identities as she grew in her art, so too
the pear.
“Ode to Kinshasa” 1972 Mixed Media on canvas
48 x 63 in. NMWA
Experiments with computer technology led Krause and
two women artists to form “Digital Atlelier”, a
printmakers group online. Forcing me to think another
way, the result has the pear open to new methods and
ideas.
Digital Atelier Exhibit , 2005, New Bedford Art
Museum
Little known Dutch painter, her work has often
been confused with Fans Hals. Her amusing
imagery prompted me to have fun with veggies
and her pear. Note: JL not F H!!
“The Concert” ca. 1633 Oil on Canvas NMWA
Working with wood and real found objects , often
including images of herself, Marisol’s work results
in ambiguous ironic , haunting sculptures, thus
this image with my wooden blocks.
“Women and dog” 1964 Wood, plaster, synthetic
polymer, and various media. Whitney museum of
American Art, NYC
Her figurative work has been described as consistent,
serious and an innovative body of work. Responding to
her encouragement, I included fragments of my “Diva”
series with her pear.
“Charlotte Willard” (detail) 1967, “Mary
Shoemaker” (detail) 1965, “Faith Ringgold” (detail)
1977 New Realism/”slyly psychological portraits”
Yes, the wife of Beatle John Lennon did something
else besides help break up the most popular band
in the world. Her pear floats in mystery.
A detail of Yoko Ono’s “Touch me III,”
2008, pre damage. NYC
Little known Irish painter working in oil, with
influences of Degas in some of her work. As she
did I looked to Degas for guidance .
“Trees by the Dodder” Oil on Canvas
Working in paint & collage, she voices concern for
Indian people & the land that was once theirs.
Sadly, I did to the pear what has been done to her
people.
“I See Red: Snowman,” 1992 oil and mixed media
on canvas. Examines American Indian life in
contrast to the consumerism of American society.
With WNY connections, a world collected artist, her
pear reflects the personal expressionism found in
her work.
“Provenance/ Two-Tone” 1975 Acrylic and
tempera on canvas AKG 60 x 113 in. “Seeking to
reconcile a new interest in imagery with the
vocabulary of abstraction…”
One of the founders of Hallwalls, Buffalo, NY, her
“Untitled Film Series” is in MOMA’s collection. Her pear
sits amidst garbage, in response to her Fairytales and
Disasters Series, Garbage is painted with unexpected
results.
Disaster Series: “Untitled #188” 1989
43 ¼ x 65” Cindy is absent from this
garbled image.
Known for her work in geometric forms, collected
world wide, including AKG. Her work inspired a
pear to be cut up and arranged with a particular
sense of design.
“Composition of circles and Semicircles” 1953
Gouache on paper, 10 x 13 ½” NMWA
Photographer of over 3,000 images of people, crafts
and landscapes the Appalachian Mountains, using
archaic large-format cameras. I was prompted to work
slowly, outdoors in limited color.
“Jason Reed” 1933, a chair
maker from North Carolina,
working wood on the shave
horse.
Dedicated to the Surrealist movement in the 1930’s, an
excellent draftswoman,Varo’s work included distorted
perspectives & unexplained narratives. Her pear floats
within a fragment of her work: “The Creation of Birds”.
“Vagabond” 1957 Oil on
Masonite 22 x 10 5/8 in.
Little known British painter of portraits, flowers
and seascapes, her technique reflected
impressionism. Called the best woman artist of
that time. I bowed to paint her pear with flowers.
Portrait: “ The hon. Mrs. Adams”
Circa 1901 oil on canvas
Vienna born figurative painter, Hausner calls her
work, “human landscapes.” My reaction: to paint a
“still life landscape” using fruit to contrast the
faded landscape.
“Lola” hand-painted lithograph
35 ½ x 45 ¼ in.
A successful British photographer, she dressed her
clients as Mythological Creatures and Goddesses.
So, her pear was donned with jewels, befitting
some mysterious subject.
Lady Dorothy Warrender as
“Ceres”, the ancient Italian CornGoddess. These grain mysteries
were enacted by women only.
( 1887-1968) Marguerite and her husband William
were both devoted to bringing Fauvism to America.
Her pear floats in an abstract combing my figurative
work with her landscape. ( she made me do it!)
She and her husband William would paint on both
sides of a canvas, I enlisted my husband Jim to
paint a fragment of her work to honor them, thus
it is shown with a two sided framing.
I am grateful to the artist I referenced and all
women artist- my predecessors and
contemporaries for their creative impulses
and inspiration. I hope that my efforts and
this series, honor their achievements and
serve as a tribute to them. I intend to
continue this project through more research
into each woman’s life and their work to
further communicate their stories through
lectures, print materials and exhibitions.
Coni Minneci 1950-
Slide 2
From Sofonisba Anguissola to Marguerite Thompson Zorach
26 Still Life Paintings using the Pear as a
Metaphor for their work and their lives.
By Coni Minneci
My awareness of the inequities that have historically plagued
the recognition and accomplishments of women artist
compelled me in 2001 to write a paper entitled “ Women in
Art history: A – Z”, as a part of my studies at Empire College.
A few years later, the painting series was begun. These 26
paintings, created over a period of three years, was the result
of my reflection on the notes and other documentation that I
had gathered, and allowing the work and life of each of these
women to influence me and inspire an original still life
painting. Working with subliminal impulses and intuitive
thought, I conceived each work. Some came easily, and others
were perplexing visual challenges.
A woman renowned in her own time as a portrait
artist. I hid her image within this simple
composition as she hid a woman in her self
portrait. Can you find her?
“Self Portrait at the
Clavichord” 1561
Ahhh, Jennifer, stardom at a young age in the art
circles of America. Symphony of visual poetry,
simplified shapes, rhythm and repetition. A star in
the spotlight.
Detail from “Rhapsody” 1975
This outspoken Feminist artist has written seven
books and is exhibited world wide. I did to the
pear what I believe she thinks the history of art
has done to women.
“The Dinner Party” 1979 Five years in
the making, this installation recognizes the
accomplishments of 39 women in history.
Included in this image are fragments from her
early “Cubist Quilt” art, the thread floats within the
painting, representing three segments of her life:
artist-mother-wife.
A scene form the film “Le p’tit Parigot” (1926) with
costumes by Sonia and paintings on the wall by
Robert.
Her talent was hidden until the death of her
famous artist husband, Thomas Eakins. Color is
limited and an unopened flower is a symbol of
her talent waiting to bloom.
“Two Sisters” 1879 oil on canvas
Successful in the times she lived in, an amazing
figurative painter, she challenged me to try to
paint contrasting textures. This small attempt
tries to honor her.
“Portrait of a Noblewomen” 1580 National
Museum of Women in the Arts, Washington D.C.
A Buffalo artist whose work transcends space and
time. Her pear has floating text, and a small
globe, just a peak into Gordon’s world.
“Presenting Evidence” Albright-Knox Art Gallery
2002, a recreation of Gordon’s studio.
A woman who abandoned Abstract Expressionism
to investigate “Painting Art History. My image is
reactionary to her early works regarding
advertisement in America .
“December Second” 1959 Oil on Canvas
48 x 72 in.
NMWA
Responding to her book: “Juchitan de las Mujeres”, I
painted pears reflecting the strong-willed large bodies
women, the matriarchal community in her photoessay, who preserve their culture and traditions.
Juchitan de las Mujeres 1989 A community in
the far south of Mexico, with Zapotec-influences.
The title “Queen Mother” of African American Art was
bestowed upon her by her students & admirers.
Struggles against prejudice and criticism forced her to
have multiple identities as she grew in her art, so too
the pear.
“Ode to Kinshasa” 1972 Mixed Media on canvas
48 x 63 in. NMWA
Experiments with computer technology led Krause and
two women artists to form “Digital Atlelier”, a
printmakers group online. Forcing me to think another
way, the result has the pear open to new methods and
ideas.
Digital Atelier Exhibit , 2005, New Bedford Art
Museum
Little known Dutch painter, her work has often
been confused with Fans Hals. Her amusing
imagery prompted me to have fun with veggies
and her pear. Note: JL not F H!!
“The Concert” ca. 1633 Oil on Canvas NMWA
Working with wood and real found objects , often
including images of herself, Marisol’s work results
in ambiguous ironic , haunting sculptures, thus
this image with my wooden blocks.
“Women and dog” 1964 Wood, plaster, synthetic
polymer, and various media. Whitney museum of
American Art, NYC
Her figurative work has been described as consistent,
serious and an innovative body of work. Responding to
her encouragement, I included fragments of my “Diva”
series with her pear.
“Charlotte Willard” (detail) 1967, “Mary
Shoemaker” (detail) 1965, “Faith Ringgold” (detail)
1977 New Realism/”slyly psychological portraits”
Yes, the wife of Beatle John Lennon did something
else besides help break up the most popular band
in the world. Her pear floats in mystery.
A detail of Yoko Ono’s “Touch me III,”
2008, pre damage. NYC
Little known Irish painter working in oil, with
influences of Degas in some of her work. As she
did I looked to Degas for guidance .
“Trees by the Dodder” Oil on Canvas
Working in paint & collage, she voices concern for
Indian people & the land that was once theirs.
Sadly, I did to the pear what has been done to her
people.
“I See Red: Snowman,” 1992 oil and mixed media
on canvas. Examines American Indian life in
contrast to the consumerism of American society.
With WNY connections, a world collected artist, her
pear reflects the personal expressionism found in
her work.
“Provenance/ Two-Tone” 1975 Acrylic and
tempera on canvas AKG 60 x 113 in. “Seeking to
reconcile a new interest in imagery with the
vocabulary of abstraction…”
One of the founders of Hallwalls, Buffalo, NY, her
“Untitled Film Series” is in MOMA’s collection. Her pear
sits amidst garbage, in response to her Fairytales and
Disasters Series, Garbage is painted with unexpected
results.
Disaster Series: “Untitled #188” 1989
43 ¼ x 65” Cindy is absent from this
garbled image.
Known for her work in geometric forms, collected
world wide, including AKG. Her work inspired a
pear to be cut up and arranged with a particular
sense of design.
“Composition of circles and Semicircles” 1953
Gouache on paper, 10 x 13 ½” NMWA
Photographer of over 3,000 images of people, crafts
and landscapes the Appalachian Mountains, using
archaic large-format cameras. I was prompted to work
slowly, outdoors in limited color.
“Jason Reed” 1933, a chair
maker from North Carolina,
working wood on the shave
horse.
Dedicated to the Surrealist movement in the 1930’s, an
excellent draftswoman,Varo’s work included distorted
perspectives & unexplained narratives. Her pear floats
within a fragment of her work: “The Creation of Birds”.
“Vagabond” 1957 Oil on
Masonite 22 x 10 5/8 in.
Little known British painter of portraits, flowers
and seascapes, her technique reflected
impressionism. Called the best woman artist of
that time. I bowed to paint her pear with flowers.
Portrait: “ The hon. Mrs. Adams”
Circa 1901 oil on canvas
Vienna born figurative painter, Hausner calls her
work, “human landscapes.” My reaction: to paint a
“still life landscape” using fruit to contrast the
faded landscape.
“Lola” hand-painted lithograph
35 ½ x 45 ¼ in.
A successful British photographer, she dressed her
clients as Mythological Creatures and Goddesses.
So, her pear was donned with jewels, befitting
some mysterious subject.
Lady Dorothy Warrender as
“Ceres”, the ancient Italian CornGoddess. These grain mysteries
were enacted by women only.
( 1887-1968) Marguerite and her husband William
were both devoted to bringing Fauvism to America.
Her pear floats in an abstract combing my figurative
work with her landscape. ( she made me do it!)
She and her husband William would paint on both
sides of a canvas, I enlisted my husband Jim to
paint a fragment of her work to honor them, thus
it is shown with a two sided framing.
I am grateful to the artist I referenced and all
women artist- my predecessors and
contemporaries for their creative impulses
and inspiration. I hope that my efforts and
this series, honor their achievements and
serve as a tribute to them. I intend to
continue this project through more research
into each woman’s life and their work to
further communicate their stories through
lectures, print materials and exhibitions.
Coni Minneci 1950-
Slide 3
From Sofonisba Anguissola to Marguerite Thompson Zorach
26 Still Life Paintings using the Pear as a
Metaphor for their work and their lives.
By Coni Minneci
My awareness of the inequities that have historically plagued
the recognition and accomplishments of women artist
compelled me in 2001 to write a paper entitled “ Women in
Art history: A – Z”, as a part of my studies at Empire College.
A few years later, the painting series was begun. These 26
paintings, created over a period of three years, was the result
of my reflection on the notes and other documentation that I
had gathered, and allowing the work and life of each of these
women to influence me and inspire an original still life
painting. Working with subliminal impulses and intuitive
thought, I conceived each work. Some came easily, and others
were perplexing visual challenges.
A woman renowned in her own time as a portrait
artist. I hid her image within this simple
composition as she hid a woman in her self
portrait. Can you find her?
“Self Portrait at the
Clavichord” 1561
Ahhh, Jennifer, stardom at a young age in the art
circles of America. Symphony of visual poetry,
simplified shapes, rhythm and repetition. A star in
the spotlight.
Detail from “Rhapsody” 1975
This outspoken Feminist artist has written seven
books and is exhibited world wide. I did to the
pear what I believe she thinks the history of art
has done to women.
“The Dinner Party” 1979 Five years in
the making, this installation recognizes the
accomplishments of 39 women in history.
Included in this image are fragments from her
early “Cubist Quilt” art, the thread floats within the
painting, representing three segments of her life:
artist-mother-wife.
A scene form the film “Le p’tit Parigot” (1926) with
costumes by Sonia and paintings on the wall by
Robert.
Her talent was hidden until the death of her
famous artist husband, Thomas Eakins. Color is
limited and an unopened flower is a symbol of
her talent waiting to bloom.
“Two Sisters” 1879 oil on canvas
Successful in the times she lived in, an amazing
figurative painter, she challenged me to try to
paint contrasting textures. This small attempt
tries to honor her.
“Portrait of a Noblewomen” 1580 National
Museum of Women in the Arts, Washington D.C.
A Buffalo artist whose work transcends space and
time. Her pear has floating text, and a small
globe, just a peak into Gordon’s world.
“Presenting Evidence” Albright-Knox Art Gallery
2002, a recreation of Gordon’s studio.
A woman who abandoned Abstract Expressionism
to investigate “Painting Art History. My image is
reactionary to her early works regarding
advertisement in America .
“December Second” 1959 Oil on Canvas
48 x 72 in.
NMWA
Responding to her book: “Juchitan de las Mujeres”, I
painted pears reflecting the strong-willed large bodies
women, the matriarchal community in her photoessay, who preserve their culture and traditions.
Juchitan de las Mujeres 1989 A community in
the far south of Mexico, with Zapotec-influences.
The title “Queen Mother” of African American Art was
bestowed upon her by her students & admirers.
Struggles against prejudice and criticism forced her to
have multiple identities as she grew in her art, so too
the pear.
“Ode to Kinshasa” 1972 Mixed Media on canvas
48 x 63 in. NMWA
Experiments with computer technology led Krause and
two women artists to form “Digital Atlelier”, a
printmakers group online. Forcing me to think another
way, the result has the pear open to new methods and
ideas.
Digital Atelier Exhibit , 2005, New Bedford Art
Museum
Little known Dutch painter, her work has often
been confused with Fans Hals. Her amusing
imagery prompted me to have fun with veggies
and her pear. Note: JL not F H!!
“The Concert” ca. 1633 Oil on Canvas NMWA
Working with wood and real found objects , often
including images of herself, Marisol’s work results
in ambiguous ironic , haunting sculptures, thus
this image with my wooden blocks.
“Women and dog” 1964 Wood, plaster, synthetic
polymer, and various media. Whitney museum of
American Art, NYC
Her figurative work has been described as consistent,
serious and an innovative body of work. Responding to
her encouragement, I included fragments of my “Diva”
series with her pear.
“Charlotte Willard” (detail) 1967, “Mary
Shoemaker” (detail) 1965, “Faith Ringgold” (detail)
1977 New Realism/”slyly psychological portraits”
Yes, the wife of Beatle John Lennon did something
else besides help break up the most popular band
in the world. Her pear floats in mystery.
A detail of Yoko Ono’s “Touch me III,”
2008, pre damage. NYC
Little known Irish painter working in oil, with
influences of Degas in some of her work. As she
did I looked to Degas for guidance .
“Trees by the Dodder” Oil on Canvas
Working in paint & collage, she voices concern for
Indian people & the land that was once theirs.
Sadly, I did to the pear what has been done to her
people.
“I See Red: Snowman,” 1992 oil and mixed media
on canvas. Examines American Indian life in
contrast to the consumerism of American society.
With WNY connections, a world collected artist, her
pear reflects the personal expressionism found in
her work.
“Provenance/ Two-Tone” 1975 Acrylic and
tempera on canvas AKG 60 x 113 in. “Seeking to
reconcile a new interest in imagery with the
vocabulary of abstraction…”
One of the founders of Hallwalls, Buffalo, NY, her
“Untitled Film Series” is in MOMA’s collection. Her pear
sits amidst garbage, in response to her Fairytales and
Disasters Series, Garbage is painted with unexpected
results.
Disaster Series: “Untitled #188” 1989
43 ¼ x 65” Cindy is absent from this
garbled image.
Known for her work in geometric forms, collected
world wide, including AKG. Her work inspired a
pear to be cut up and arranged with a particular
sense of design.
“Composition of circles and Semicircles” 1953
Gouache on paper, 10 x 13 ½” NMWA
Photographer of over 3,000 images of people, crafts
and landscapes the Appalachian Mountains, using
archaic large-format cameras. I was prompted to work
slowly, outdoors in limited color.
“Jason Reed” 1933, a chair
maker from North Carolina,
working wood on the shave
horse.
Dedicated to the Surrealist movement in the 1930’s, an
excellent draftswoman,Varo’s work included distorted
perspectives & unexplained narratives. Her pear floats
within a fragment of her work: “The Creation of Birds”.
“Vagabond” 1957 Oil on
Masonite 22 x 10 5/8 in.
Little known British painter of portraits, flowers
and seascapes, her technique reflected
impressionism. Called the best woman artist of
that time. I bowed to paint her pear with flowers.
Portrait: “ The hon. Mrs. Adams”
Circa 1901 oil on canvas
Vienna born figurative painter, Hausner calls her
work, “human landscapes.” My reaction: to paint a
“still life landscape” using fruit to contrast the
faded landscape.
“Lola” hand-painted lithograph
35 ½ x 45 ¼ in.
A successful British photographer, she dressed her
clients as Mythological Creatures and Goddesses.
So, her pear was donned with jewels, befitting
some mysterious subject.
Lady Dorothy Warrender as
“Ceres”, the ancient Italian CornGoddess. These grain mysteries
were enacted by women only.
( 1887-1968) Marguerite and her husband William
were both devoted to bringing Fauvism to America.
Her pear floats in an abstract combing my figurative
work with her landscape. ( she made me do it!)
She and her husband William would paint on both
sides of a canvas, I enlisted my husband Jim to
paint a fragment of her work to honor them, thus
it is shown with a two sided framing.
I am grateful to the artist I referenced and all
women artist- my predecessors and
contemporaries for their creative impulses
and inspiration. I hope that my efforts and
this series, honor their achievements and
serve as a tribute to them. I intend to
continue this project through more research
into each woman’s life and their work to
further communicate their stories through
lectures, print materials and exhibitions.
Coni Minneci 1950-
Slide 4
From Sofonisba Anguissola to Marguerite Thompson Zorach
26 Still Life Paintings using the Pear as a
Metaphor for their work and their lives.
By Coni Minneci
My awareness of the inequities that have historically plagued
the recognition and accomplishments of women artist
compelled me in 2001 to write a paper entitled “ Women in
Art history: A – Z”, as a part of my studies at Empire College.
A few years later, the painting series was begun. These 26
paintings, created over a period of three years, was the result
of my reflection on the notes and other documentation that I
had gathered, and allowing the work and life of each of these
women to influence me and inspire an original still life
painting. Working with subliminal impulses and intuitive
thought, I conceived each work. Some came easily, and others
were perplexing visual challenges.
A woman renowned in her own time as a portrait
artist. I hid her image within this simple
composition as she hid a woman in her self
portrait. Can you find her?
“Self Portrait at the
Clavichord” 1561
Ahhh, Jennifer, stardom at a young age in the art
circles of America. Symphony of visual poetry,
simplified shapes, rhythm and repetition. A star in
the spotlight.
Detail from “Rhapsody” 1975
This outspoken Feminist artist has written seven
books and is exhibited world wide. I did to the
pear what I believe she thinks the history of art
has done to women.
“The Dinner Party” 1979 Five years in
the making, this installation recognizes the
accomplishments of 39 women in history.
Included in this image are fragments from her
early “Cubist Quilt” art, the thread floats within the
painting, representing three segments of her life:
artist-mother-wife.
A scene form the film “Le p’tit Parigot” (1926) with
costumes by Sonia and paintings on the wall by
Robert.
Her talent was hidden until the death of her
famous artist husband, Thomas Eakins. Color is
limited and an unopened flower is a symbol of
her talent waiting to bloom.
“Two Sisters” 1879 oil on canvas
Successful in the times she lived in, an amazing
figurative painter, she challenged me to try to
paint contrasting textures. This small attempt
tries to honor her.
“Portrait of a Noblewomen” 1580 National
Museum of Women in the Arts, Washington D.C.
A Buffalo artist whose work transcends space and
time. Her pear has floating text, and a small
globe, just a peak into Gordon’s world.
“Presenting Evidence” Albright-Knox Art Gallery
2002, a recreation of Gordon’s studio.
A woman who abandoned Abstract Expressionism
to investigate “Painting Art History. My image is
reactionary to her early works regarding
advertisement in America .
“December Second” 1959 Oil on Canvas
48 x 72 in.
NMWA
Responding to her book: “Juchitan de las Mujeres”, I
painted pears reflecting the strong-willed large bodies
women, the matriarchal community in her photoessay, who preserve their culture and traditions.
Juchitan de las Mujeres 1989 A community in
the far south of Mexico, with Zapotec-influences.
The title “Queen Mother” of African American Art was
bestowed upon her by her students & admirers.
Struggles against prejudice and criticism forced her to
have multiple identities as she grew in her art, so too
the pear.
“Ode to Kinshasa” 1972 Mixed Media on canvas
48 x 63 in. NMWA
Experiments with computer technology led Krause and
two women artists to form “Digital Atlelier”, a
printmakers group online. Forcing me to think another
way, the result has the pear open to new methods and
ideas.
Digital Atelier Exhibit , 2005, New Bedford Art
Museum
Little known Dutch painter, her work has often
been confused with Fans Hals. Her amusing
imagery prompted me to have fun with veggies
and her pear. Note: JL not F H!!
“The Concert” ca. 1633 Oil on Canvas NMWA
Working with wood and real found objects , often
including images of herself, Marisol’s work results
in ambiguous ironic , haunting sculptures, thus
this image with my wooden blocks.
“Women and dog” 1964 Wood, plaster, synthetic
polymer, and various media. Whitney museum of
American Art, NYC
Her figurative work has been described as consistent,
serious and an innovative body of work. Responding to
her encouragement, I included fragments of my “Diva”
series with her pear.
“Charlotte Willard” (detail) 1967, “Mary
Shoemaker” (detail) 1965, “Faith Ringgold” (detail)
1977 New Realism/”slyly psychological portraits”
Yes, the wife of Beatle John Lennon did something
else besides help break up the most popular band
in the world. Her pear floats in mystery.
A detail of Yoko Ono’s “Touch me III,”
2008, pre damage. NYC
Little known Irish painter working in oil, with
influences of Degas in some of her work. As she
did I looked to Degas for guidance .
“Trees by the Dodder” Oil on Canvas
Working in paint & collage, she voices concern for
Indian people & the land that was once theirs.
Sadly, I did to the pear what has been done to her
people.
“I See Red: Snowman,” 1992 oil and mixed media
on canvas. Examines American Indian life in
contrast to the consumerism of American society.
With WNY connections, a world collected artist, her
pear reflects the personal expressionism found in
her work.
“Provenance/ Two-Tone” 1975 Acrylic and
tempera on canvas AKG 60 x 113 in. “Seeking to
reconcile a new interest in imagery with the
vocabulary of abstraction…”
One of the founders of Hallwalls, Buffalo, NY, her
“Untitled Film Series” is in MOMA’s collection. Her pear
sits amidst garbage, in response to her Fairytales and
Disasters Series, Garbage is painted with unexpected
results.
Disaster Series: “Untitled #188” 1989
43 ¼ x 65” Cindy is absent from this
garbled image.
Known for her work in geometric forms, collected
world wide, including AKG. Her work inspired a
pear to be cut up and arranged with a particular
sense of design.
“Composition of circles and Semicircles” 1953
Gouache on paper, 10 x 13 ½” NMWA
Photographer of over 3,000 images of people, crafts
and landscapes the Appalachian Mountains, using
archaic large-format cameras. I was prompted to work
slowly, outdoors in limited color.
“Jason Reed” 1933, a chair
maker from North Carolina,
working wood on the shave
horse.
Dedicated to the Surrealist movement in the 1930’s, an
excellent draftswoman,Varo’s work included distorted
perspectives & unexplained narratives. Her pear floats
within a fragment of her work: “The Creation of Birds”.
“Vagabond” 1957 Oil on
Masonite 22 x 10 5/8 in.
Little known British painter of portraits, flowers
and seascapes, her technique reflected
impressionism. Called the best woman artist of
that time. I bowed to paint her pear with flowers.
Portrait: “ The hon. Mrs. Adams”
Circa 1901 oil on canvas
Vienna born figurative painter, Hausner calls her
work, “human landscapes.” My reaction: to paint a
“still life landscape” using fruit to contrast the
faded landscape.
“Lola” hand-painted lithograph
35 ½ x 45 ¼ in.
A successful British photographer, she dressed her
clients as Mythological Creatures and Goddesses.
So, her pear was donned with jewels, befitting
some mysterious subject.
Lady Dorothy Warrender as
“Ceres”, the ancient Italian CornGoddess. These grain mysteries
were enacted by women only.
( 1887-1968) Marguerite and her husband William
were both devoted to bringing Fauvism to America.
Her pear floats in an abstract combing my figurative
work with her landscape. ( she made me do it!)
She and her husband William would paint on both
sides of a canvas, I enlisted my husband Jim to
paint a fragment of her work to honor them, thus
it is shown with a two sided framing.
I am grateful to the artist I referenced and all
women artist- my predecessors and
contemporaries for their creative impulses
and inspiration. I hope that my efforts and
this series, honor their achievements and
serve as a tribute to them. I intend to
continue this project through more research
into each woman’s life and their work to
further communicate their stories through
lectures, print materials and exhibitions.
Coni Minneci 1950-
Slide 5
From Sofonisba Anguissola to Marguerite Thompson Zorach
26 Still Life Paintings using the Pear as a
Metaphor for their work and their lives.
By Coni Minneci
My awareness of the inequities that have historically plagued
the recognition and accomplishments of women artist
compelled me in 2001 to write a paper entitled “ Women in
Art history: A – Z”, as a part of my studies at Empire College.
A few years later, the painting series was begun. These 26
paintings, created over a period of three years, was the result
of my reflection on the notes and other documentation that I
had gathered, and allowing the work and life of each of these
women to influence me and inspire an original still life
painting. Working with subliminal impulses and intuitive
thought, I conceived each work. Some came easily, and others
were perplexing visual challenges.
A woman renowned in her own time as a portrait
artist. I hid her image within this simple
composition as she hid a woman in her self
portrait. Can you find her?
“Self Portrait at the
Clavichord” 1561
Ahhh, Jennifer, stardom at a young age in the art
circles of America. Symphony of visual poetry,
simplified shapes, rhythm and repetition. A star in
the spotlight.
Detail from “Rhapsody” 1975
This outspoken Feminist artist has written seven
books and is exhibited world wide. I did to the
pear what I believe she thinks the history of art
has done to women.
“The Dinner Party” 1979 Five years in
the making, this installation recognizes the
accomplishments of 39 women in history.
Included in this image are fragments from her
early “Cubist Quilt” art, the thread floats within the
painting, representing three segments of her life:
artist-mother-wife.
A scene form the film “Le p’tit Parigot” (1926) with
costumes by Sonia and paintings on the wall by
Robert.
Her talent was hidden until the death of her
famous artist husband, Thomas Eakins. Color is
limited and an unopened flower is a symbol of
her talent waiting to bloom.
“Two Sisters” 1879 oil on canvas
Successful in the times she lived in, an amazing
figurative painter, she challenged me to try to
paint contrasting textures. This small attempt
tries to honor her.
“Portrait of a Noblewomen” 1580 National
Museum of Women in the Arts, Washington D.C.
A Buffalo artist whose work transcends space and
time. Her pear has floating text, and a small
globe, just a peak into Gordon’s world.
“Presenting Evidence” Albright-Knox Art Gallery
2002, a recreation of Gordon’s studio.
A woman who abandoned Abstract Expressionism
to investigate “Painting Art History. My image is
reactionary to her early works regarding
advertisement in America .
“December Second” 1959 Oil on Canvas
48 x 72 in.
NMWA
Responding to her book: “Juchitan de las Mujeres”, I
painted pears reflecting the strong-willed large bodies
women, the matriarchal community in her photoessay, who preserve their culture and traditions.
Juchitan de las Mujeres 1989 A community in
the far south of Mexico, with Zapotec-influences.
The title “Queen Mother” of African American Art was
bestowed upon her by her students & admirers.
Struggles against prejudice and criticism forced her to
have multiple identities as she grew in her art, so too
the pear.
“Ode to Kinshasa” 1972 Mixed Media on canvas
48 x 63 in. NMWA
Experiments with computer technology led Krause and
two women artists to form “Digital Atlelier”, a
printmakers group online. Forcing me to think another
way, the result has the pear open to new methods and
ideas.
Digital Atelier Exhibit , 2005, New Bedford Art
Museum
Little known Dutch painter, her work has often
been confused with Fans Hals. Her amusing
imagery prompted me to have fun with veggies
and her pear. Note: JL not F H!!
“The Concert” ca. 1633 Oil on Canvas NMWA
Working with wood and real found objects , often
including images of herself, Marisol’s work results
in ambiguous ironic , haunting sculptures, thus
this image with my wooden blocks.
“Women and dog” 1964 Wood, plaster, synthetic
polymer, and various media. Whitney museum of
American Art, NYC
Her figurative work has been described as consistent,
serious and an innovative body of work. Responding to
her encouragement, I included fragments of my “Diva”
series with her pear.
“Charlotte Willard” (detail) 1967, “Mary
Shoemaker” (detail) 1965, “Faith Ringgold” (detail)
1977 New Realism/”slyly psychological portraits”
Yes, the wife of Beatle John Lennon did something
else besides help break up the most popular band
in the world. Her pear floats in mystery.
A detail of Yoko Ono’s “Touch me III,”
2008, pre damage. NYC
Little known Irish painter working in oil, with
influences of Degas in some of her work. As she
did I looked to Degas for guidance .
“Trees by the Dodder” Oil on Canvas
Working in paint & collage, she voices concern for
Indian people & the land that was once theirs.
Sadly, I did to the pear what has been done to her
people.
“I See Red: Snowman,” 1992 oil and mixed media
on canvas. Examines American Indian life in
contrast to the consumerism of American society.
With WNY connections, a world collected artist, her
pear reflects the personal expressionism found in
her work.
“Provenance/ Two-Tone” 1975 Acrylic and
tempera on canvas AKG 60 x 113 in. “Seeking to
reconcile a new interest in imagery with the
vocabulary of abstraction…”
One of the founders of Hallwalls, Buffalo, NY, her
“Untitled Film Series” is in MOMA’s collection. Her pear
sits amidst garbage, in response to her Fairytales and
Disasters Series, Garbage is painted with unexpected
results.
Disaster Series: “Untitled #188” 1989
43 ¼ x 65” Cindy is absent from this
garbled image.
Known for her work in geometric forms, collected
world wide, including AKG. Her work inspired a
pear to be cut up and arranged with a particular
sense of design.
“Composition of circles and Semicircles” 1953
Gouache on paper, 10 x 13 ½” NMWA
Photographer of over 3,000 images of people, crafts
and landscapes the Appalachian Mountains, using
archaic large-format cameras. I was prompted to work
slowly, outdoors in limited color.
“Jason Reed” 1933, a chair
maker from North Carolina,
working wood on the shave
horse.
Dedicated to the Surrealist movement in the 1930’s, an
excellent draftswoman,Varo’s work included distorted
perspectives & unexplained narratives. Her pear floats
within a fragment of her work: “The Creation of Birds”.
“Vagabond” 1957 Oil on
Masonite 22 x 10 5/8 in.
Little known British painter of portraits, flowers
and seascapes, her technique reflected
impressionism. Called the best woman artist of
that time. I bowed to paint her pear with flowers.
Portrait: “ The hon. Mrs. Adams”
Circa 1901 oil on canvas
Vienna born figurative painter, Hausner calls her
work, “human landscapes.” My reaction: to paint a
“still life landscape” using fruit to contrast the
faded landscape.
“Lola” hand-painted lithograph
35 ½ x 45 ¼ in.
A successful British photographer, she dressed her
clients as Mythological Creatures and Goddesses.
So, her pear was donned with jewels, befitting
some mysterious subject.
Lady Dorothy Warrender as
“Ceres”, the ancient Italian CornGoddess. These grain mysteries
were enacted by women only.
( 1887-1968) Marguerite and her husband William
were both devoted to bringing Fauvism to America.
Her pear floats in an abstract combing my figurative
work with her landscape. ( she made me do it!)
She and her husband William would paint on both
sides of a canvas, I enlisted my husband Jim to
paint a fragment of her work to honor them, thus
it is shown with a two sided framing.
I am grateful to the artist I referenced and all
women artist- my predecessors and
contemporaries for their creative impulses
and inspiration. I hope that my efforts and
this series, honor their achievements and
serve as a tribute to them. I intend to
continue this project through more research
into each woman’s life and their work to
further communicate their stories through
lectures, print materials and exhibitions.
Coni Minneci 1950-
Slide 6
From Sofonisba Anguissola to Marguerite Thompson Zorach
26 Still Life Paintings using the Pear as a
Metaphor for their work and their lives.
By Coni Minneci
My awareness of the inequities that have historically plagued
the recognition and accomplishments of women artist
compelled me in 2001 to write a paper entitled “ Women in
Art history: A – Z”, as a part of my studies at Empire College.
A few years later, the painting series was begun. These 26
paintings, created over a period of three years, was the result
of my reflection on the notes and other documentation that I
had gathered, and allowing the work and life of each of these
women to influence me and inspire an original still life
painting. Working with subliminal impulses and intuitive
thought, I conceived each work. Some came easily, and others
were perplexing visual challenges.
A woman renowned in her own time as a portrait
artist. I hid her image within this simple
composition as she hid a woman in her self
portrait. Can you find her?
“Self Portrait at the
Clavichord” 1561
Ahhh, Jennifer, stardom at a young age in the art
circles of America. Symphony of visual poetry,
simplified shapes, rhythm and repetition. A star in
the spotlight.
Detail from “Rhapsody” 1975
This outspoken Feminist artist has written seven
books and is exhibited world wide. I did to the
pear what I believe she thinks the history of art
has done to women.
“The Dinner Party” 1979 Five years in
the making, this installation recognizes the
accomplishments of 39 women in history.
Included in this image are fragments from her
early “Cubist Quilt” art, the thread floats within the
painting, representing three segments of her life:
artist-mother-wife.
A scene form the film “Le p’tit Parigot” (1926) with
costumes by Sonia and paintings on the wall by
Robert.
Her talent was hidden until the death of her
famous artist husband, Thomas Eakins. Color is
limited and an unopened flower is a symbol of
her talent waiting to bloom.
“Two Sisters” 1879 oil on canvas
Successful in the times she lived in, an amazing
figurative painter, she challenged me to try to
paint contrasting textures. This small attempt
tries to honor her.
“Portrait of a Noblewomen” 1580 National
Museum of Women in the Arts, Washington D.C.
A Buffalo artist whose work transcends space and
time. Her pear has floating text, and a small
globe, just a peak into Gordon’s world.
“Presenting Evidence” Albright-Knox Art Gallery
2002, a recreation of Gordon’s studio.
A woman who abandoned Abstract Expressionism
to investigate “Painting Art History. My image is
reactionary to her early works regarding
advertisement in America .
“December Second” 1959 Oil on Canvas
48 x 72 in.
NMWA
Responding to her book: “Juchitan de las Mujeres”, I
painted pears reflecting the strong-willed large bodies
women, the matriarchal community in her photoessay, who preserve their culture and traditions.
Juchitan de las Mujeres 1989 A community in
the far south of Mexico, with Zapotec-influences.
The title “Queen Mother” of African American Art was
bestowed upon her by her students & admirers.
Struggles against prejudice and criticism forced her to
have multiple identities as she grew in her art, so too
the pear.
“Ode to Kinshasa” 1972 Mixed Media on canvas
48 x 63 in. NMWA
Experiments with computer technology led Krause and
two women artists to form “Digital Atlelier”, a
printmakers group online. Forcing me to think another
way, the result has the pear open to new methods and
ideas.
Digital Atelier Exhibit , 2005, New Bedford Art
Museum
Little known Dutch painter, her work has often
been confused with Fans Hals. Her amusing
imagery prompted me to have fun with veggies
and her pear. Note: JL not F H!!
“The Concert” ca. 1633 Oil on Canvas NMWA
Working with wood and real found objects , often
including images of herself, Marisol’s work results
in ambiguous ironic , haunting sculptures, thus
this image with my wooden blocks.
“Women and dog” 1964 Wood, plaster, synthetic
polymer, and various media. Whitney museum of
American Art, NYC
Her figurative work has been described as consistent,
serious and an innovative body of work. Responding to
her encouragement, I included fragments of my “Diva”
series with her pear.
“Charlotte Willard” (detail) 1967, “Mary
Shoemaker” (detail) 1965, “Faith Ringgold” (detail)
1977 New Realism/”slyly psychological portraits”
Yes, the wife of Beatle John Lennon did something
else besides help break up the most popular band
in the world. Her pear floats in mystery.
A detail of Yoko Ono’s “Touch me III,”
2008, pre damage. NYC
Little known Irish painter working in oil, with
influences of Degas in some of her work. As she
did I looked to Degas for guidance .
“Trees by the Dodder” Oil on Canvas
Working in paint & collage, she voices concern for
Indian people & the land that was once theirs.
Sadly, I did to the pear what has been done to her
people.
“I See Red: Snowman,” 1992 oil and mixed media
on canvas. Examines American Indian life in
contrast to the consumerism of American society.
With WNY connections, a world collected artist, her
pear reflects the personal expressionism found in
her work.
“Provenance/ Two-Tone” 1975 Acrylic and
tempera on canvas AKG 60 x 113 in. “Seeking to
reconcile a new interest in imagery with the
vocabulary of abstraction…”
One of the founders of Hallwalls, Buffalo, NY, her
“Untitled Film Series” is in MOMA’s collection. Her pear
sits amidst garbage, in response to her Fairytales and
Disasters Series, Garbage is painted with unexpected
results.
Disaster Series: “Untitled #188” 1989
43 ¼ x 65” Cindy is absent from this
garbled image.
Known for her work in geometric forms, collected
world wide, including AKG. Her work inspired a
pear to be cut up and arranged with a particular
sense of design.
“Composition of circles and Semicircles” 1953
Gouache on paper, 10 x 13 ½” NMWA
Photographer of over 3,000 images of people, crafts
and landscapes the Appalachian Mountains, using
archaic large-format cameras. I was prompted to work
slowly, outdoors in limited color.
“Jason Reed” 1933, a chair
maker from North Carolina,
working wood on the shave
horse.
Dedicated to the Surrealist movement in the 1930’s, an
excellent draftswoman,Varo’s work included distorted
perspectives & unexplained narratives. Her pear floats
within a fragment of her work: “The Creation of Birds”.
“Vagabond” 1957 Oil on
Masonite 22 x 10 5/8 in.
Little known British painter of portraits, flowers
and seascapes, her technique reflected
impressionism. Called the best woman artist of
that time. I bowed to paint her pear with flowers.
Portrait: “ The hon. Mrs. Adams”
Circa 1901 oil on canvas
Vienna born figurative painter, Hausner calls her
work, “human landscapes.” My reaction: to paint a
“still life landscape” using fruit to contrast the
faded landscape.
“Lola” hand-painted lithograph
35 ½ x 45 ¼ in.
A successful British photographer, she dressed her
clients as Mythological Creatures and Goddesses.
So, her pear was donned with jewels, befitting
some mysterious subject.
Lady Dorothy Warrender as
“Ceres”, the ancient Italian CornGoddess. These grain mysteries
were enacted by women only.
( 1887-1968) Marguerite and her husband William
were both devoted to bringing Fauvism to America.
Her pear floats in an abstract combing my figurative
work with her landscape. ( she made me do it!)
She and her husband William would paint on both
sides of a canvas, I enlisted my husband Jim to
paint a fragment of her work to honor them, thus
it is shown with a two sided framing.
I am grateful to the artist I referenced and all
women artist- my predecessors and
contemporaries for their creative impulses
and inspiration. I hope that my efforts and
this series, honor their achievements and
serve as a tribute to them. I intend to
continue this project through more research
into each woman’s life and their work to
further communicate their stories through
lectures, print materials and exhibitions.
Coni Minneci 1950-
Slide 7
From Sofonisba Anguissola to Marguerite Thompson Zorach
26 Still Life Paintings using the Pear as a
Metaphor for their work and their lives.
By Coni Minneci
My awareness of the inequities that have historically plagued
the recognition and accomplishments of women artist
compelled me in 2001 to write a paper entitled “ Women in
Art history: A – Z”, as a part of my studies at Empire College.
A few years later, the painting series was begun. These 26
paintings, created over a period of three years, was the result
of my reflection on the notes and other documentation that I
had gathered, and allowing the work and life of each of these
women to influence me and inspire an original still life
painting. Working with subliminal impulses and intuitive
thought, I conceived each work. Some came easily, and others
were perplexing visual challenges.
A woman renowned in her own time as a portrait
artist. I hid her image within this simple
composition as she hid a woman in her self
portrait. Can you find her?
“Self Portrait at the
Clavichord” 1561
Ahhh, Jennifer, stardom at a young age in the art
circles of America. Symphony of visual poetry,
simplified shapes, rhythm and repetition. A star in
the spotlight.
Detail from “Rhapsody” 1975
This outspoken Feminist artist has written seven
books and is exhibited world wide. I did to the
pear what I believe she thinks the history of art
has done to women.
“The Dinner Party” 1979 Five years in
the making, this installation recognizes the
accomplishments of 39 women in history.
Included in this image are fragments from her
early “Cubist Quilt” art, the thread floats within the
painting, representing three segments of her life:
artist-mother-wife.
A scene form the film “Le p’tit Parigot” (1926) with
costumes by Sonia and paintings on the wall by
Robert.
Her talent was hidden until the death of her
famous artist husband, Thomas Eakins. Color is
limited and an unopened flower is a symbol of
her talent waiting to bloom.
“Two Sisters” 1879 oil on canvas
Successful in the times she lived in, an amazing
figurative painter, she challenged me to try to
paint contrasting textures. This small attempt
tries to honor her.
“Portrait of a Noblewomen” 1580 National
Museum of Women in the Arts, Washington D.C.
A Buffalo artist whose work transcends space and
time. Her pear has floating text, and a small
globe, just a peak into Gordon’s world.
“Presenting Evidence” Albright-Knox Art Gallery
2002, a recreation of Gordon’s studio.
A woman who abandoned Abstract Expressionism
to investigate “Painting Art History. My image is
reactionary to her early works regarding
advertisement in America .
“December Second” 1959 Oil on Canvas
48 x 72 in.
NMWA
Responding to her book: “Juchitan de las Mujeres”, I
painted pears reflecting the strong-willed large bodies
women, the matriarchal community in her photoessay, who preserve their culture and traditions.
Juchitan de las Mujeres 1989 A community in
the far south of Mexico, with Zapotec-influences.
The title “Queen Mother” of African American Art was
bestowed upon her by her students & admirers.
Struggles against prejudice and criticism forced her to
have multiple identities as she grew in her art, so too
the pear.
“Ode to Kinshasa” 1972 Mixed Media on canvas
48 x 63 in. NMWA
Experiments with computer technology led Krause and
two women artists to form “Digital Atlelier”, a
printmakers group online. Forcing me to think another
way, the result has the pear open to new methods and
ideas.
Digital Atelier Exhibit , 2005, New Bedford Art
Museum
Little known Dutch painter, her work has often
been confused with Fans Hals. Her amusing
imagery prompted me to have fun with veggies
and her pear. Note: JL not F H!!
“The Concert” ca. 1633 Oil on Canvas NMWA
Working with wood and real found objects , often
including images of herself, Marisol’s work results
in ambiguous ironic , haunting sculptures, thus
this image with my wooden blocks.
“Women and dog” 1964 Wood, plaster, synthetic
polymer, and various media. Whitney museum of
American Art, NYC
Her figurative work has been described as consistent,
serious and an innovative body of work. Responding to
her encouragement, I included fragments of my “Diva”
series with her pear.
“Charlotte Willard” (detail) 1967, “Mary
Shoemaker” (detail) 1965, “Faith Ringgold” (detail)
1977 New Realism/”slyly psychological portraits”
Yes, the wife of Beatle John Lennon did something
else besides help break up the most popular band
in the world. Her pear floats in mystery.
A detail of Yoko Ono’s “Touch me III,”
2008, pre damage. NYC
Little known Irish painter working in oil, with
influences of Degas in some of her work. As she
did I looked to Degas for guidance .
“Trees by the Dodder” Oil on Canvas
Working in paint & collage, she voices concern for
Indian people & the land that was once theirs.
Sadly, I did to the pear what has been done to her
people.
“I See Red: Snowman,” 1992 oil and mixed media
on canvas. Examines American Indian life in
contrast to the consumerism of American society.
With WNY connections, a world collected artist, her
pear reflects the personal expressionism found in
her work.
“Provenance/ Two-Tone” 1975 Acrylic and
tempera on canvas AKG 60 x 113 in. “Seeking to
reconcile a new interest in imagery with the
vocabulary of abstraction…”
One of the founders of Hallwalls, Buffalo, NY, her
“Untitled Film Series” is in MOMA’s collection. Her pear
sits amidst garbage, in response to her Fairytales and
Disasters Series, Garbage is painted with unexpected
results.
Disaster Series: “Untitled #188” 1989
43 ¼ x 65” Cindy is absent from this
garbled image.
Known for her work in geometric forms, collected
world wide, including AKG. Her work inspired a
pear to be cut up and arranged with a particular
sense of design.
“Composition of circles and Semicircles” 1953
Gouache on paper, 10 x 13 ½” NMWA
Photographer of over 3,000 images of people, crafts
and landscapes the Appalachian Mountains, using
archaic large-format cameras. I was prompted to work
slowly, outdoors in limited color.
“Jason Reed” 1933, a chair
maker from North Carolina,
working wood on the shave
horse.
Dedicated to the Surrealist movement in the 1930’s, an
excellent draftswoman,Varo’s work included distorted
perspectives & unexplained narratives. Her pear floats
within a fragment of her work: “The Creation of Birds”.
“Vagabond” 1957 Oil on
Masonite 22 x 10 5/8 in.
Little known British painter of portraits, flowers
and seascapes, her technique reflected
impressionism. Called the best woman artist of
that time. I bowed to paint her pear with flowers.
Portrait: “ The hon. Mrs. Adams”
Circa 1901 oil on canvas
Vienna born figurative painter, Hausner calls her
work, “human landscapes.” My reaction: to paint a
“still life landscape” using fruit to contrast the
faded landscape.
“Lola” hand-painted lithograph
35 ½ x 45 ¼ in.
A successful British photographer, she dressed her
clients as Mythological Creatures and Goddesses.
So, her pear was donned with jewels, befitting
some mysterious subject.
Lady Dorothy Warrender as
“Ceres”, the ancient Italian CornGoddess. These grain mysteries
were enacted by women only.
( 1887-1968) Marguerite and her husband William
were both devoted to bringing Fauvism to America.
Her pear floats in an abstract combing my figurative
work with her landscape. ( she made me do it!)
She and her husband William would paint on both
sides of a canvas, I enlisted my husband Jim to
paint a fragment of her work to honor them, thus
it is shown with a two sided framing.
I am grateful to the artist I referenced and all
women artist- my predecessors and
contemporaries for their creative impulses
and inspiration. I hope that my efforts and
this series, honor their achievements and
serve as a tribute to them. I intend to
continue this project through more research
into each woman’s life and their work to
further communicate their stories through
lectures, print materials and exhibitions.
Coni Minneci 1950-
Slide 8
From Sofonisba Anguissola to Marguerite Thompson Zorach
26 Still Life Paintings using the Pear as a
Metaphor for their work and their lives.
By Coni Minneci
My awareness of the inequities that have historically plagued
the recognition and accomplishments of women artist
compelled me in 2001 to write a paper entitled “ Women in
Art history: A – Z”, as a part of my studies at Empire College.
A few years later, the painting series was begun. These 26
paintings, created over a period of three years, was the result
of my reflection on the notes and other documentation that I
had gathered, and allowing the work and life of each of these
women to influence me and inspire an original still life
painting. Working with subliminal impulses and intuitive
thought, I conceived each work. Some came easily, and others
were perplexing visual challenges.
A woman renowned in her own time as a portrait
artist. I hid her image within this simple
composition as she hid a woman in her self
portrait. Can you find her?
“Self Portrait at the
Clavichord” 1561
Ahhh, Jennifer, stardom at a young age in the art
circles of America. Symphony of visual poetry,
simplified shapes, rhythm and repetition. A star in
the spotlight.
Detail from “Rhapsody” 1975
This outspoken Feminist artist has written seven
books and is exhibited world wide. I did to the
pear what I believe she thinks the history of art
has done to women.
“The Dinner Party” 1979 Five years in
the making, this installation recognizes the
accomplishments of 39 women in history.
Included in this image are fragments from her
early “Cubist Quilt” art, the thread floats within the
painting, representing three segments of her life:
artist-mother-wife.
A scene form the film “Le p’tit Parigot” (1926) with
costumes by Sonia and paintings on the wall by
Robert.
Her talent was hidden until the death of her
famous artist husband, Thomas Eakins. Color is
limited and an unopened flower is a symbol of
her talent waiting to bloom.
“Two Sisters” 1879 oil on canvas
Successful in the times she lived in, an amazing
figurative painter, she challenged me to try to
paint contrasting textures. This small attempt
tries to honor her.
“Portrait of a Noblewomen” 1580 National
Museum of Women in the Arts, Washington D.C.
A Buffalo artist whose work transcends space and
time. Her pear has floating text, and a small
globe, just a peak into Gordon’s world.
“Presenting Evidence” Albright-Knox Art Gallery
2002, a recreation of Gordon’s studio.
A woman who abandoned Abstract Expressionism
to investigate “Painting Art History. My image is
reactionary to her early works regarding
advertisement in America .
“December Second” 1959 Oil on Canvas
48 x 72 in.
NMWA
Responding to her book: “Juchitan de las Mujeres”, I
painted pears reflecting the strong-willed large bodies
women, the matriarchal community in her photoessay, who preserve their culture and traditions.
Juchitan de las Mujeres 1989 A community in
the far south of Mexico, with Zapotec-influences.
The title “Queen Mother” of African American Art was
bestowed upon her by her students & admirers.
Struggles against prejudice and criticism forced her to
have multiple identities as she grew in her art, so too
the pear.
“Ode to Kinshasa” 1972 Mixed Media on canvas
48 x 63 in. NMWA
Experiments with computer technology led Krause and
two women artists to form “Digital Atlelier”, a
printmakers group online. Forcing me to think another
way, the result has the pear open to new methods and
ideas.
Digital Atelier Exhibit , 2005, New Bedford Art
Museum
Little known Dutch painter, her work has often
been confused with Fans Hals. Her amusing
imagery prompted me to have fun with veggies
and her pear. Note: JL not F H!!
“The Concert” ca. 1633 Oil on Canvas NMWA
Working with wood and real found objects , often
including images of herself, Marisol’s work results
in ambiguous ironic , haunting sculptures, thus
this image with my wooden blocks.
“Women and dog” 1964 Wood, plaster, synthetic
polymer, and various media. Whitney museum of
American Art, NYC
Her figurative work has been described as consistent,
serious and an innovative body of work. Responding to
her encouragement, I included fragments of my “Diva”
series with her pear.
“Charlotte Willard” (detail) 1967, “Mary
Shoemaker” (detail) 1965, “Faith Ringgold” (detail)
1977 New Realism/”slyly psychological portraits”
Yes, the wife of Beatle John Lennon did something
else besides help break up the most popular band
in the world. Her pear floats in mystery.
A detail of Yoko Ono’s “Touch me III,”
2008, pre damage. NYC
Little known Irish painter working in oil, with
influences of Degas in some of her work. As she
did I looked to Degas for guidance .
“Trees by the Dodder” Oil on Canvas
Working in paint & collage, she voices concern for
Indian people & the land that was once theirs.
Sadly, I did to the pear what has been done to her
people.
“I See Red: Snowman,” 1992 oil and mixed media
on canvas. Examines American Indian life in
contrast to the consumerism of American society.
With WNY connections, a world collected artist, her
pear reflects the personal expressionism found in
her work.
“Provenance/ Two-Tone” 1975 Acrylic and
tempera on canvas AKG 60 x 113 in. “Seeking to
reconcile a new interest in imagery with the
vocabulary of abstraction…”
One of the founders of Hallwalls, Buffalo, NY, her
“Untitled Film Series” is in MOMA’s collection. Her pear
sits amidst garbage, in response to her Fairytales and
Disasters Series, Garbage is painted with unexpected
results.
Disaster Series: “Untitled #188” 1989
43 ¼ x 65” Cindy is absent from this
garbled image.
Known for her work in geometric forms, collected
world wide, including AKG. Her work inspired a
pear to be cut up and arranged with a particular
sense of design.
“Composition of circles and Semicircles” 1953
Gouache on paper, 10 x 13 ½” NMWA
Photographer of over 3,000 images of people, crafts
and landscapes the Appalachian Mountains, using
archaic large-format cameras. I was prompted to work
slowly, outdoors in limited color.
“Jason Reed” 1933, a chair
maker from North Carolina,
working wood on the shave
horse.
Dedicated to the Surrealist movement in the 1930’s, an
excellent draftswoman,Varo’s work included distorted
perspectives & unexplained narratives. Her pear floats
within a fragment of her work: “The Creation of Birds”.
“Vagabond” 1957 Oil on
Masonite 22 x 10 5/8 in.
Little known British painter of portraits, flowers
and seascapes, her technique reflected
impressionism. Called the best woman artist of
that time. I bowed to paint her pear with flowers.
Portrait: “ The hon. Mrs. Adams”
Circa 1901 oil on canvas
Vienna born figurative painter, Hausner calls her
work, “human landscapes.” My reaction: to paint a
“still life landscape” using fruit to contrast the
faded landscape.
“Lola” hand-painted lithograph
35 ½ x 45 ¼ in.
A successful British photographer, she dressed her
clients as Mythological Creatures and Goddesses.
So, her pear was donned with jewels, befitting
some mysterious subject.
Lady Dorothy Warrender as
“Ceres”, the ancient Italian CornGoddess. These grain mysteries
were enacted by women only.
( 1887-1968) Marguerite and her husband William
were both devoted to bringing Fauvism to America.
Her pear floats in an abstract combing my figurative
work with her landscape. ( she made me do it!)
She and her husband William would paint on both
sides of a canvas, I enlisted my husband Jim to
paint a fragment of her work to honor them, thus
it is shown with a two sided framing.
I am grateful to the artist I referenced and all
women artist- my predecessors and
contemporaries for their creative impulses
and inspiration. I hope that my efforts and
this series, honor their achievements and
serve as a tribute to them. I intend to
continue this project through more research
into each woman’s life and their work to
further communicate their stories through
lectures, print materials and exhibitions.
Coni Minneci 1950-
Slide 9
From Sofonisba Anguissola to Marguerite Thompson Zorach
26 Still Life Paintings using the Pear as a
Metaphor for their work and their lives.
By Coni Minneci
My awareness of the inequities that have historically plagued
the recognition and accomplishments of women artist
compelled me in 2001 to write a paper entitled “ Women in
Art history: A – Z”, as a part of my studies at Empire College.
A few years later, the painting series was begun. These 26
paintings, created over a period of three years, was the result
of my reflection on the notes and other documentation that I
had gathered, and allowing the work and life of each of these
women to influence me and inspire an original still life
painting. Working with subliminal impulses and intuitive
thought, I conceived each work. Some came easily, and others
were perplexing visual challenges.
A woman renowned in her own time as a portrait
artist. I hid her image within this simple
composition as she hid a woman in her self
portrait. Can you find her?
“Self Portrait at the
Clavichord” 1561
Ahhh, Jennifer, stardom at a young age in the art
circles of America. Symphony of visual poetry,
simplified shapes, rhythm and repetition. A star in
the spotlight.
Detail from “Rhapsody” 1975
This outspoken Feminist artist has written seven
books and is exhibited world wide. I did to the
pear what I believe she thinks the history of art
has done to women.
“The Dinner Party” 1979 Five years in
the making, this installation recognizes the
accomplishments of 39 women in history.
Included in this image are fragments from her
early “Cubist Quilt” art, the thread floats within the
painting, representing three segments of her life:
artist-mother-wife.
A scene form the film “Le p’tit Parigot” (1926) with
costumes by Sonia and paintings on the wall by
Robert.
Her talent was hidden until the death of her
famous artist husband, Thomas Eakins. Color is
limited and an unopened flower is a symbol of
her talent waiting to bloom.
“Two Sisters” 1879 oil on canvas
Successful in the times she lived in, an amazing
figurative painter, she challenged me to try to
paint contrasting textures. This small attempt
tries to honor her.
“Portrait of a Noblewomen” 1580 National
Museum of Women in the Arts, Washington D.C.
A Buffalo artist whose work transcends space and
time. Her pear has floating text, and a small
globe, just a peak into Gordon’s world.
“Presenting Evidence” Albright-Knox Art Gallery
2002, a recreation of Gordon’s studio.
A woman who abandoned Abstract Expressionism
to investigate “Painting Art History. My image is
reactionary to her early works regarding
advertisement in America .
“December Second” 1959 Oil on Canvas
48 x 72 in.
NMWA
Responding to her book: “Juchitan de las Mujeres”, I
painted pears reflecting the strong-willed large bodies
women, the matriarchal community in her photoessay, who preserve their culture and traditions.
Juchitan de las Mujeres 1989 A community in
the far south of Mexico, with Zapotec-influences.
The title “Queen Mother” of African American Art was
bestowed upon her by her students & admirers.
Struggles against prejudice and criticism forced her to
have multiple identities as she grew in her art, so too
the pear.
“Ode to Kinshasa” 1972 Mixed Media on canvas
48 x 63 in. NMWA
Experiments with computer technology led Krause and
two women artists to form “Digital Atlelier”, a
printmakers group online. Forcing me to think another
way, the result has the pear open to new methods and
ideas.
Digital Atelier Exhibit , 2005, New Bedford Art
Museum
Little known Dutch painter, her work has often
been confused with Fans Hals. Her amusing
imagery prompted me to have fun with veggies
and her pear. Note: JL not F H!!
“The Concert” ca. 1633 Oil on Canvas NMWA
Working with wood and real found objects , often
including images of herself, Marisol’s work results
in ambiguous ironic , haunting sculptures, thus
this image with my wooden blocks.
“Women and dog” 1964 Wood, plaster, synthetic
polymer, and various media. Whitney museum of
American Art, NYC
Her figurative work has been described as consistent,
serious and an innovative body of work. Responding to
her encouragement, I included fragments of my “Diva”
series with her pear.
“Charlotte Willard” (detail) 1967, “Mary
Shoemaker” (detail) 1965, “Faith Ringgold” (detail)
1977 New Realism/”slyly psychological portraits”
Yes, the wife of Beatle John Lennon did something
else besides help break up the most popular band
in the world. Her pear floats in mystery.
A detail of Yoko Ono’s “Touch me III,”
2008, pre damage. NYC
Little known Irish painter working in oil, with
influences of Degas in some of her work. As she
did I looked to Degas for guidance .
“Trees by the Dodder” Oil on Canvas
Working in paint & collage, she voices concern for
Indian people & the land that was once theirs.
Sadly, I did to the pear what has been done to her
people.
“I See Red: Snowman,” 1992 oil and mixed media
on canvas. Examines American Indian life in
contrast to the consumerism of American society.
With WNY connections, a world collected artist, her
pear reflects the personal expressionism found in
her work.
“Provenance/ Two-Tone” 1975 Acrylic and
tempera on canvas AKG 60 x 113 in. “Seeking to
reconcile a new interest in imagery with the
vocabulary of abstraction…”
One of the founders of Hallwalls, Buffalo, NY, her
“Untitled Film Series” is in MOMA’s collection. Her pear
sits amidst garbage, in response to her Fairytales and
Disasters Series, Garbage is painted with unexpected
results.
Disaster Series: “Untitled #188” 1989
43 ¼ x 65” Cindy is absent from this
garbled image.
Known for her work in geometric forms, collected
world wide, including AKG. Her work inspired a
pear to be cut up and arranged with a particular
sense of design.
“Composition of circles and Semicircles” 1953
Gouache on paper, 10 x 13 ½” NMWA
Photographer of over 3,000 images of people, crafts
and landscapes the Appalachian Mountains, using
archaic large-format cameras. I was prompted to work
slowly, outdoors in limited color.
“Jason Reed” 1933, a chair
maker from North Carolina,
working wood on the shave
horse.
Dedicated to the Surrealist movement in the 1930’s, an
excellent draftswoman,Varo’s work included distorted
perspectives & unexplained narratives. Her pear floats
within a fragment of her work: “The Creation of Birds”.
“Vagabond” 1957 Oil on
Masonite 22 x 10 5/8 in.
Little known British painter of portraits, flowers
and seascapes, her technique reflected
impressionism. Called the best woman artist of
that time. I bowed to paint her pear with flowers.
Portrait: “ The hon. Mrs. Adams”
Circa 1901 oil on canvas
Vienna born figurative painter, Hausner calls her
work, “human landscapes.” My reaction: to paint a
“still life landscape” using fruit to contrast the
faded landscape.
“Lola” hand-painted lithograph
35 ½ x 45 ¼ in.
A successful British photographer, she dressed her
clients as Mythological Creatures and Goddesses.
So, her pear was donned with jewels, befitting
some mysterious subject.
Lady Dorothy Warrender as
“Ceres”, the ancient Italian CornGoddess. These grain mysteries
were enacted by women only.
( 1887-1968) Marguerite and her husband William
were both devoted to bringing Fauvism to America.
Her pear floats in an abstract combing my figurative
work with her landscape. ( she made me do it!)
She and her husband William would paint on both
sides of a canvas, I enlisted my husband Jim to
paint a fragment of her work to honor them, thus
it is shown with a two sided framing.
I am grateful to the artist I referenced and all
women artist- my predecessors and
contemporaries for their creative impulses
and inspiration. I hope that my efforts and
this series, honor their achievements and
serve as a tribute to them. I intend to
continue this project through more research
into each woman’s life and their work to
further communicate their stories through
lectures, print materials and exhibitions.
Coni Minneci 1950-
Slide 10
From Sofonisba Anguissola to Marguerite Thompson Zorach
26 Still Life Paintings using the Pear as a
Metaphor for their work and their lives.
By Coni Minneci
My awareness of the inequities that have historically plagued
the recognition and accomplishments of women artist
compelled me in 2001 to write a paper entitled “ Women in
Art history: A – Z”, as a part of my studies at Empire College.
A few years later, the painting series was begun. These 26
paintings, created over a period of three years, was the result
of my reflection on the notes and other documentation that I
had gathered, and allowing the work and life of each of these
women to influence me and inspire an original still life
painting. Working with subliminal impulses and intuitive
thought, I conceived each work. Some came easily, and others
were perplexing visual challenges.
A woman renowned in her own time as a portrait
artist. I hid her image within this simple
composition as she hid a woman in her self
portrait. Can you find her?
“Self Portrait at the
Clavichord” 1561
Ahhh, Jennifer, stardom at a young age in the art
circles of America. Symphony of visual poetry,
simplified shapes, rhythm and repetition. A star in
the spotlight.
Detail from “Rhapsody” 1975
This outspoken Feminist artist has written seven
books and is exhibited world wide. I did to the
pear what I believe she thinks the history of art
has done to women.
“The Dinner Party” 1979 Five years in
the making, this installation recognizes the
accomplishments of 39 women in history.
Included in this image are fragments from her
early “Cubist Quilt” art, the thread floats within the
painting, representing three segments of her life:
artist-mother-wife.
A scene form the film “Le p’tit Parigot” (1926) with
costumes by Sonia and paintings on the wall by
Robert.
Her talent was hidden until the death of her
famous artist husband, Thomas Eakins. Color is
limited and an unopened flower is a symbol of
her talent waiting to bloom.
“Two Sisters” 1879 oil on canvas
Successful in the times she lived in, an amazing
figurative painter, she challenged me to try to
paint contrasting textures. This small attempt
tries to honor her.
“Portrait of a Noblewomen” 1580 National
Museum of Women in the Arts, Washington D.C.
A Buffalo artist whose work transcends space and
time. Her pear has floating text, and a small
globe, just a peak into Gordon’s world.
“Presenting Evidence” Albright-Knox Art Gallery
2002, a recreation of Gordon’s studio.
A woman who abandoned Abstract Expressionism
to investigate “Painting Art History. My image is
reactionary to her early works regarding
advertisement in America .
“December Second” 1959 Oil on Canvas
48 x 72 in.
NMWA
Responding to her book: “Juchitan de las Mujeres”, I
painted pears reflecting the strong-willed large bodies
women, the matriarchal community in her photoessay, who preserve their culture and traditions.
Juchitan de las Mujeres 1989 A community in
the far south of Mexico, with Zapotec-influences.
The title “Queen Mother” of African American Art was
bestowed upon her by her students & admirers.
Struggles against prejudice and criticism forced her to
have multiple identities as she grew in her art, so too
the pear.
“Ode to Kinshasa” 1972 Mixed Media on canvas
48 x 63 in. NMWA
Experiments with computer technology led Krause and
two women artists to form “Digital Atlelier”, a
printmakers group online. Forcing me to think another
way, the result has the pear open to new methods and
ideas.
Digital Atelier Exhibit , 2005, New Bedford Art
Museum
Little known Dutch painter, her work has often
been confused with Fans Hals. Her amusing
imagery prompted me to have fun with veggies
and her pear. Note: JL not F H!!
“The Concert” ca. 1633 Oil on Canvas NMWA
Working with wood and real found objects , often
including images of herself, Marisol’s work results
in ambiguous ironic , haunting sculptures, thus
this image with my wooden blocks.
“Women and dog” 1964 Wood, plaster, synthetic
polymer, and various media. Whitney museum of
American Art, NYC
Her figurative work has been described as consistent,
serious and an innovative body of work. Responding to
her encouragement, I included fragments of my “Diva”
series with her pear.
“Charlotte Willard” (detail) 1967, “Mary
Shoemaker” (detail) 1965, “Faith Ringgold” (detail)
1977 New Realism/”slyly psychological portraits”
Yes, the wife of Beatle John Lennon did something
else besides help break up the most popular band
in the world. Her pear floats in mystery.
A detail of Yoko Ono’s “Touch me III,”
2008, pre damage. NYC
Little known Irish painter working in oil, with
influences of Degas in some of her work. As she
did I looked to Degas for guidance .
“Trees by the Dodder” Oil on Canvas
Working in paint & collage, she voices concern for
Indian people & the land that was once theirs.
Sadly, I did to the pear what has been done to her
people.
“I See Red: Snowman,” 1992 oil and mixed media
on canvas. Examines American Indian life in
contrast to the consumerism of American society.
With WNY connections, a world collected artist, her
pear reflects the personal expressionism found in
her work.
“Provenance/ Two-Tone” 1975 Acrylic and
tempera on canvas AKG 60 x 113 in. “Seeking to
reconcile a new interest in imagery with the
vocabulary of abstraction…”
One of the founders of Hallwalls, Buffalo, NY, her
“Untitled Film Series” is in MOMA’s collection. Her pear
sits amidst garbage, in response to her Fairytales and
Disasters Series, Garbage is painted with unexpected
results.
Disaster Series: “Untitled #188” 1989
43 ¼ x 65” Cindy is absent from this
garbled image.
Known for her work in geometric forms, collected
world wide, including AKG. Her work inspired a
pear to be cut up and arranged with a particular
sense of design.
“Composition of circles and Semicircles” 1953
Gouache on paper, 10 x 13 ½” NMWA
Photographer of over 3,000 images of people, crafts
and landscapes the Appalachian Mountains, using
archaic large-format cameras. I was prompted to work
slowly, outdoors in limited color.
“Jason Reed” 1933, a chair
maker from North Carolina,
working wood on the shave
horse.
Dedicated to the Surrealist movement in the 1930’s, an
excellent draftswoman,Varo’s work included distorted
perspectives & unexplained narratives. Her pear floats
within a fragment of her work: “The Creation of Birds”.
“Vagabond” 1957 Oil on
Masonite 22 x 10 5/8 in.
Little known British painter of portraits, flowers
and seascapes, her technique reflected
impressionism. Called the best woman artist of
that time. I bowed to paint her pear with flowers.
Portrait: “ The hon. Mrs. Adams”
Circa 1901 oil on canvas
Vienna born figurative painter, Hausner calls her
work, “human landscapes.” My reaction: to paint a
“still life landscape” using fruit to contrast the
faded landscape.
“Lola” hand-painted lithograph
35 ½ x 45 ¼ in.
A successful British photographer, she dressed her
clients as Mythological Creatures and Goddesses.
So, her pear was donned with jewels, befitting
some mysterious subject.
Lady Dorothy Warrender as
“Ceres”, the ancient Italian CornGoddess. These grain mysteries
were enacted by women only.
( 1887-1968) Marguerite and her husband William
were both devoted to bringing Fauvism to America.
Her pear floats in an abstract combing my figurative
work with her landscape. ( she made me do it!)
She and her husband William would paint on both
sides of a canvas, I enlisted my husband Jim to
paint a fragment of her work to honor them, thus
it is shown with a two sided framing.
I am grateful to the artist I referenced and all
women artist- my predecessors and
contemporaries for their creative impulses
and inspiration. I hope that my efforts and
this series, honor their achievements and
serve as a tribute to them. I intend to
continue this project through more research
into each woman’s life and their work to
further communicate their stories through
lectures, print materials and exhibitions.
Coni Minneci 1950-
Slide 11
From Sofonisba Anguissola to Marguerite Thompson Zorach
26 Still Life Paintings using the Pear as a
Metaphor for their work and their lives.
By Coni Minneci
My awareness of the inequities that have historically plagued
the recognition and accomplishments of women artist
compelled me in 2001 to write a paper entitled “ Women in
Art history: A – Z”, as a part of my studies at Empire College.
A few years later, the painting series was begun. These 26
paintings, created over a period of three years, was the result
of my reflection on the notes and other documentation that I
had gathered, and allowing the work and life of each of these
women to influence me and inspire an original still life
painting. Working with subliminal impulses and intuitive
thought, I conceived each work. Some came easily, and others
were perplexing visual challenges.
A woman renowned in her own time as a portrait
artist. I hid her image within this simple
composition as she hid a woman in her self
portrait. Can you find her?
“Self Portrait at the
Clavichord” 1561
Ahhh, Jennifer, stardom at a young age in the art
circles of America. Symphony of visual poetry,
simplified shapes, rhythm and repetition. A star in
the spotlight.
Detail from “Rhapsody” 1975
This outspoken Feminist artist has written seven
books and is exhibited world wide. I did to the
pear what I believe she thinks the history of art
has done to women.
“The Dinner Party” 1979 Five years in
the making, this installation recognizes the
accomplishments of 39 women in history.
Included in this image are fragments from her
early “Cubist Quilt” art, the thread floats within the
painting, representing three segments of her life:
artist-mother-wife.
A scene form the film “Le p’tit Parigot” (1926) with
costumes by Sonia and paintings on the wall by
Robert.
Her talent was hidden until the death of her
famous artist husband, Thomas Eakins. Color is
limited and an unopened flower is a symbol of
her talent waiting to bloom.
“Two Sisters” 1879 oil on canvas
Successful in the times she lived in, an amazing
figurative painter, she challenged me to try to
paint contrasting textures. This small attempt
tries to honor her.
“Portrait of a Noblewomen” 1580 National
Museum of Women in the Arts, Washington D.C.
A Buffalo artist whose work transcends space and
time. Her pear has floating text, and a small
globe, just a peak into Gordon’s world.
“Presenting Evidence” Albright-Knox Art Gallery
2002, a recreation of Gordon’s studio.
A woman who abandoned Abstract Expressionism
to investigate “Painting Art History. My image is
reactionary to her early works regarding
advertisement in America .
“December Second” 1959 Oil on Canvas
48 x 72 in.
NMWA
Responding to her book: “Juchitan de las Mujeres”, I
painted pears reflecting the strong-willed large bodies
women, the matriarchal community in her photoessay, who preserve their culture and traditions.
Juchitan de las Mujeres 1989 A community in
the far south of Mexico, with Zapotec-influences.
The title “Queen Mother” of African American Art was
bestowed upon her by her students & admirers.
Struggles against prejudice and criticism forced her to
have multiple identities as she grew in her art, so too
the pear.
“Ode to Kinshasa” 1972 Mixed Media on canvas
48 x 63 in. NMWA
Experiments with computer technology led Krause and
two women artists to form “Digital Atlelier”, a
printmakers group online. Forcing me to think another
way, the result has the pear open to new methods and
ideas.
Digital Atelier Exhibit , 2005, New Bedford Art
Museum
Little known Dutch painter, her work has often
been confused with Fans Hals. Her amusing
imagery prompted me to have fun with veggies
and her pear. Note: JL not F H!!
“The Concert” ca. 1633 Oil on Canvas NMWA
Working with wood and real found objects , often
including images of herself, Marisol’s work results
in ambiguous ironic , haunting sculptures, thus
this image with my wooden blocks.
“Women and dog” 1964 Wood, plaster, synthetic
polymer, and various media. Whitney museum of
American Art, NYC
Her figurative work has been described as consistent,
serious and an innovative body of work. Responding to
her encouragement, I included fragments of my “Diva”
series with her pear.
“Charlotte Willard” (detail) 1967, “Mary
Shoemaker” (detail) 1965, “Faith Ringgold” (detail)
1977 New Realism/”slyly psychological portraits”
Yes, the wife of Beatle John Lennon did something
else besides help break up the most popular band
in the world. Her pear floats in mystery.
A detail of Yoko Ono’s “Touch me III,”
2008, pre damage. NYC
Little known Irish painter working in oil, with
influences of Degas in some of her work. As she
did I looked to Degas for guidance .
“Trees by the Dodder” Oil on Canvas
Working in paint & collage, she voices concern for
Indian people & the land that was once theirs.
Sadly, I did to the pear what has been done to her
people.
“I See Red: Snowman,” 1992 oil and mixed media
on canvas. Examines American Indian life in
contrast to the consumerism of American society.
With WNY connections, a world collected artist, her
pear reflects the personal expressionism found in
her work.
“Provenance/ Two-Tone” 1975 Acrylic and
tempera on canvas AKG 60 x 113 in. “Seeking to
reconcile a new interest in imagery with the
vocabulary of abstraction…”
One of the founders of Hallwalls, Buffalo, NY, her
“Untitled Film Series” is in MOMA’s collection. Her pear
sits amidst garbage, in response to her Fairytales and
Disasters Series, Garbage is painted with unexpected
results.
Disaster Series: “Untitled #188” 1989
43 ¼ x 65” Cindy is absent from this
garbled image.
Known for her work in geometric forms, collected
world wide, including AKG. Her work inspired a
pear to be cut up and arranged with a particular
sense of design.
“Composition of circles and Semicircles” 1953
Gouache on paper, 10 x 13 ½” NMWA
Photographer of over 3,000 images of people, crafts
and landscapes the Appalachian Mountains, using
archaic large-format cameras. I was prompted to work
slowly, outdoors in limited color.
“Jason Reed” 1933, a chair
maker from North Carolina,
working wood on the shave
horse.
Dedicated to the Surrealist movement in the 1930’s, an
excellent draftswoman,Varo’s work included distorted
perspectives & unexplained narratives. Her pear floats
within a fragment of her work: “The Creation of Birds”.
“Vagabond” 1957 Oil on
Masonite 22 x 10 5/8 in.
Little known British painter of portraits, flowers
and seascapes, her technique reflected
impressionism. Called the best woman artist of
that time. I bowed to paint her pear with flowers.
Portrait: “ The hon. Mrs. Adams”
Circa 1901 oil on canvas
Vienna born figurative painter, Hausner calls her
work, “human landscapes.” My reaction: to paint a
“still life landscape” using fruit to contrast the
faded landscape.
“Lola” hand-painted lithograph
35 ½ x 45 ¼ in.
A successful British photographer, she dressed her
clients as Mythological Creatures and Goddesses.
So, her pear was donned with jewels, befitting
some mysterious subject.
Lady Dorothy Warrender as
“Ceres”, the ancient Italian CornGoddess. These grain mysteries
were enacted by women only.
( 1887-1968) Marguerite and her husband William
were both devoted to bringing Fauvism to America.
Her pear floats in an abstract combing my figurative
work with her landscape. ( she made me do it!)
She and her husband William would paint on both
sides of a canvas, I enlisted my husband Jim to
paint a fragment of her work to honor them, thus
it is shown with a two sided framing.
I am grateful to the artist I referenced and all
women artist- my predecessors and
contemporaries for their creative impulses
and inspiration. I hope that my efforts and
this series, honor their achievements and
serve as a tribute to them. I intend to
continue this project through more research
into each woman’s life and their work to
further communicate their stories through
lectures, print materials and exhibitions.
Coni Minneci 1950-
Slide 12
From Sofonisba Anguissola to Marguerite Thompson Zorach
26 Still Life Paintings using the Pear as a
Metaphor for their work and their lives.
By Coni Minneci
My awareness of the inequities that have historically plagued
the recognition and accomplishments of women artist
compelled me in 2001 to write a paper entitled “ Women in
Art history: A – Z”, as a part of my studies at Empire College.
A few years later, the painting series was begun. These 26
paintings, created over a period of three years, was the result
of my reflection on the notes and other documentation that I
had gathered, and allowing the work and life of each of these
women to influence me and inspire an original still life
painting. Working with subliminal impulses and intuitive
thought, I conceived each work. Some came easily, and others
were perplexing visual challenges.
A woman renowned in her own time as a portrait
artist. I hid her image within this simple
composition as she hid a woman in her self
portrait. Can you find her?
“Self Portrait at the
Clavichord” 1561
Ahhh, Jennifer, stardom at a young age in the art
circles of America. Symphony of visual poetry,
simplified shapes, rhythm and repetition. A star in
the spotlight.
Detail from “Rhapsody” 1975
This outspoken Feminist artist has written seven
books and is exhibited world wide. I did to the
pear what I believe she thinks the history of art
has done to women.
“The Dinner Party” 1979 Five years in
the making, this installation recognizes the
accomplishments of 39 women in history.
Included in this image are fragments from her
early “Cubist Quilt” art, the thread floats within the
painting, representing three segments of her life:
artist-mother-wife.
A scene form the film “Le p’tit Parigot” (1926) with
costumes by Sonia and paintings on the wall by
Robert.
Her talent was hidden until the death of her
famous artist husband, Thomas Eakins. Color is
limited and an unopened flower is a symbol of
her talent waiting to bloom.
“Two Sisters” 1879 oil on canvas
Successful in the times she lived in, an amazing
figurative painter, she challenged me to try to
paint contrasting textures. This small attempt
tries to honor her.
“Portrait of a Noblewomen” 1580 National
Museum of Women in the Arts, Washington D.C.
A Buffalo artist whose work transcends space and
time. Her pear has floating text, and a small
globe, just a peak into Gordon’s world.
“Presenting Evidence” Albright-Knox Art Gallery
2002, a recreation of Gordon’s studio.
A woman who abandoned Abstract Expressionism
to investigate “Painting Art History. My image is
reactionary to her early works regarding
advertisement in America .
“December Second” 1959 Oil on Canvas
48 x 72 in.
NMWA
Responding to her book: “Juchitan de las Mujeres”, I
painted pears reflecting the strong-willed large bodies
women, the matriarchal community in her photoessay, who preserve their culture and traditions.
Juchitan de las Mujeres 1989 A community in
the far south of Mexico, with Zapotec-influences.
The title “Queen Mother” of African American Art was
bestowed upon her by her students & admirers.
Struggles against prejudice and criticism forced her to
have multiple identities as she grew in her art, so too
the pear.
“Ode to Kinshasa” 1972 Mixed Media on canvas
48 x 63 in. NMWA
Experiments with computer technology led Krause and
two women artists to form “Digital Atlelier”, a
printmakers group online. Forcing me to think another
way, the result has the pear open to new methods and
ideas.
Digital Atelier Exhibit , 2005, New Bedford Art
Museum
Little known Dutch painter, her work has often
been confused with Fans Hals. Her amusing
imagery prompted me to have fun with veggies
and her pear. Note: JL not F H!!
“The Concert” ca. 1633 Oil on Canvas NMWA
Working with wood and real found objects , often
including images of herself, Marisol’s work results
in ambiguous ironic , haunting sculptures, thus
this image with my wooden blocks.
“Women and dog” 1964 Wood, plaster, synthetic
polymer, and various media. Whitney museum of
American Art, NYC
Her figurative work has been described as consistent,
serious and an innovative body of work. Responding to
her encouragement, I included fragments of my “Diva”
series with her pear.
“Charlotte Willard” (detail) 1967, “Mary
Shoemaker” (detail) 1965, “Faith Ringgold” (detail)
1977 New Realism/”slyly psychological portraits”
Yes, the wife of Beatle John Lennon did something
else besides help break up the most popular band
in the world. Her pear floats in mystery.
A detail of Yoko Ono’s “Touch me III,”
2008, pre damage. NYC
Little known Irish painter working in oil, with
influences of Degas in some of her work. As she
did I looked to Degas for guidance .
“Trees by the Dodder” Oil on Canvas
Working in paint & collage, she voices concern for
Indian people & the land that was once theirs.
Sadly, I did to the pear what has been done to her
people.
“I See Red: Snowman,” 1992 oil and mixed media
on canvas. Examines American Indian life in
contrast to the consumerism of American society.
With WNY connections, a world collected artist, her
pear reflects the personal expressionism found in
her work.
“Provenance/ Two-Tone” 1975 Acrylic and
tempera on canvas AKG 60 x 113 in. “Seeking to
reconcile a new interest in imagery with the
vocabulary of abstraction…”
One of the founders of Hallwalls, Buffalo, NY, her
“Untitled Film Series” is in MOMA’s collection. Her pear
sits amidst garbage, in response to her Fairytales and
Disasters Series, Garbage is painted with unexpected
results.
Disaster Series: “Untitled #188” 1989
43 ¼ x 65” Cindy is absent from this
garbled image.
Known for her work in geometric forms, collected
world wide, including AKG. Her work inspired a
pear to be cut up and arranged with a particular
sense of design.
“Composition of circles and Semicircles” 1953
Gouache on paper, 10 x 13 ½” NMWA
Photographer of over 3,000 images of people, crafts
and landscapes the Appalachian Mountains, using
archaic large-format cameras. I was prompted to work
slowly, outdoors in limited color.
“Jason Reed” 1933, a chair
maker from North Carolina,
working wood on the shave
horse.
Dedicated to the Surrealist movement in the 1930’s, an
excellent draftswoman,Varo’s work included distorted
perspectives & unexplained narratives. Her pear floats
within a fragment of her work: “The Creation of Birds”.
“Vagabond” 1957 Oil on
Masonite 22 x 10 5/8 in.
Little known British painter of portraits, flowers
and seascapes, her technique reflected
impressionism. Called the best woman artist of
that time. I bowed to paint her pear with flowers.
Portrait: “ The hon. Mrs. Adams”
Circa 1901 oil on canvas
Vienna born figurative painter, Hausner calls her
work, “human landscapes.” My reaction: to paint a
“still life landscape” using fruit to contrast the
faded landscape.
“Lola” hand-painted lithograph
35 ½ x 45 ¼ in.
A successful British photographer, she dressed her
clients as Mythological Creatures and Goddesses.
So, her pear was donned with jewels, befitting
some mysterious subject.
Lady Dorothy Warrender as
“Ceres”, the ancient Italian CornGoddess. These grain mysteries
were enacted by women only.
( 1887-1968) Marguerite and her husband William
were both devoted to bringing Fauvism to America.
Her pear floats in an abstract combing my figurative
work with her landscape. ( she made me do it!)
She and her husband William would paint on both
sides of a canvas, I enlisted my husband Jim to
paint a fragment of her work to honor them, thus
it is shown with a two sided framing.
I am grateful to the artist I referenced and all
women artist- my predecessors and
contemporaries for their creative impulses
and inspiration. I hope that my efforts and
this series, honor their achievements and
serve as a tribute to them. I intend to
continue this project through more research
into each woman’s life and their work to
further communicate their stories through
lectures, print materials and exhibitions.
Coni Minneci 1950-
Slide 13
From Sofonisba Anguissola to Marguerite Thompson Zorach
26 Still Life Paintings using the Pear as a
Metaphor for their work and their lives.
By Coni Minneci
My awareness of the inequities that have historically plagued
the recognition and accomplishments of women artist
compelled me in 2001 to write a paper entitled “ Women in
Art history: A – Z”, as a part of my studies at Empire College.
A few years later, the painting series was begun. These 26
paintings, created over a period of three years, was the result
of my reflection on the notes and other documentation that I
had gathered, and allowing the work and life of each of these
women to influence me and inspire an original still life
painting. Working with subliminal impulses and intuitive
thought, I conceived each work. Some came easily, and others
were perplexing visual challenges.
A woman renowned in her own time as a portrait
artist. I hid her image within this simple
composition as she hid a woman in her self
portrait. Can you find her?
“Self Portrait at the
Clavichord” 1561
Ahhh, Jennifer, stardom at a young age in the art
circles of America. Symphony of visual poetry,
simplified shapes, rhythm and repetition. A star in
the spotlight.
Detail from “Rhapsody” 1975
This outspoken Feminist artist has written seven
books and is exhibited world wide. I did to the
pear what I believe she thinks the history of art
has done to women.
“The Dinner Party” 1979 Five years in
the making, this installation recognizes the
accomplishments of 39 women in history.
Included in this image are fragments from her
early “Cubist Quilt” art, the thread floats within the
painting, representing three segments of her life:
artist-mother-wife.
A scene form the film “Le p’tit Parigot” (1926) with
costumes by Sonia and paintings on the wall by
Robert.
Her talent was hidden until the death of her
famous artist husband, Thomas Eakins. Color is
limited and an unopened flower is a symbol of
her talent waiting to bloom.
“Two Sisters” 1879 oil on canvas
Successful in the times she lived in, an amazing
figurative painter, she challenged me to try to
paint contrasting textures. This small attempt
tries to honor her.
“Portrait of a Noblewomen” 1580 National
Museum of Women in the Arts, Washington D.C.
A Buffalo artist whose work transcends space and
time. Her pear has floating text, and a small
globe, just a peak into Gordon’s world.
“Presenting Evidence” Albright-Knox Art Gallery
2002, a recreation of Gordon’s studio.
A woman who abandoned Abstract Expressionism
to investigate “Painting Art History. My image is
reactionary to her early works regarding
advertisement in America .
“December Second” 1959 Oil on Canvas
48 x 72 in.
NMWA
Responding to her book: “Juchitan de las Mujeres”, I
painted pears reflecting the strong-willed large bodies
women, the matriarchal community in her photoessay, who preserve their culture and traditions.
Juchitan de las Mujeres 1989 A community in
the far south of Mexico, with Zapotec-influences.
The title “Queen Mother” of African American Art was
bestowed upon her by her students & admirers.
Struggles against prejudice and criticism forced her to
have multiple identities as she grew in her art, so too
the pear.
“Ode to Kinshasa” 1972 Mixed Media on canvas
48 x 63 in. NMWA
Experiments with computer technology led Krause and
two women artists to form “Digital Atlelier”, a
printmakers group online. Forcing me to think another
way, the result has the pear open to new methods and
ideas.
Digital Atelier Exhibit , 2005, New Bedford Art
Museum
Little known Dutch painter, her work has often
been confused with Fans Hals. Her amusing
imagery prompted me to have fun with veggies
and her pear. Note: JL not F H!!
“The Concert” ca. 1633 Oil on Canvas NMWA
Working with wood and real found objects , often
including images of herself, Marisol’s work results
in ambiguous ironic , haunting sculptures, thus
this image with my wooden blocks.
“Women and dog” 1964 Wood, plaster, synthetic
polymer, and various media. Whitney museum of
American Art, NYC
Her figurative work has been described as consistent,
serious and an innovative body of work. Responding to
her encouragement, I included fragments of my “Diva”
series with her pear.
“Charlotte Willard” (detail) 1967, “Mary
Shoemaker” (detail) 1965, “Faith Ringgold” (detail)
1977 New Realism/”slyly psychological portraits”
Yes, the wife of Beatle John Lennon did something
else besides help break up the most popular band
in the world. Her pear floats in mystery.
A detail of Yoko Ono’s “Touch me III,”
2008, pre damage. NYC
Little known Irish painter working in oil, with
influences of Degas in some of her work. As she
did I looked to Degas for guidance .
“Trees by the Dodder” Oil on Canvas
Working in paint & collage, she voices concern for
Indian people & the land that was once theirs.
Sadly, I did to the pear what has been done to her
people.
“I See Red: Snowman,” 1992 oil and mixed media
on canvas. Examines American Indian life in
contrast to the consumerism of American society.
With WNY connections, a world collected artist, her
pear reflects the personal expressionism found in
her work.
“Provenance/ Two-Tone” 1975 Acrylic and
tempera on canvas AKG 60 x 113 in. “Seeking to
reconcile a new interest in imagery with the
vocabulary of abstraction…”
One of the founders of Hallwalls, Buffalo, NY, her
“Untitled Film Series” is in MOMA’s collection. Her pear
sits amidst garbage, in response to her Fairytales and
Disasters Series, Garbage is painted with unexpected
results.
Disaster Series: “Untitled #188” 1989
43 ¼ x 65” Cindy is absent from this
garbled image.
Known for her work in geometric forms, collected
world wide, including AKG. Her work inspired a
pear to be cut up and arranged with a particular
sense of design.
“Composition of circles and Semicircles” 1953
Gouache on paper, 10 x 13 ½” NMWA
Photographer of over 3,000 images of people, crafts
and landscapes the Appalachian Mountains, using
archaic large-format cameras. I was prompted to work
slowly, outdoors in limited color.
“Jason Reed” 1933, a chair
maker from North Carolina,
working wood on the shave
horse.
Dedicated to the Surrealist movement in the 1930’s, an
excellent draftswoman,Varo’s work included distorted
perspectives & unexplained narratives. Her pear floats
within a fragment of her work: “The Creation of Birds”.
“Vagabond” 1957 Oil on
Masonite 22 x 10 5/8 in.
Little known British painter of portraits, flowers
and seascapes, her technique reflected
impressionism. Called the best woman artist of
that time. I bowed to paint her pear with flowers.
Portrait: “ The hon. Mrs. Adams”
Circa 1901 oil on canvas
Vienna born figurative painter, Hausner calls her
work, “human landscapes.” My reaction: to paint a
“still life landscape” using fruit to contrast the
faded landscape.
“Lola” hand-painted lithograph
35 ½ x 45 ¼ in.
A successful British photographer, she dressed her
clients as Mythological Creatures and Goddesses.
So, her pear was donned with jewels, befitting
some mysterious subject.
Lady Dorothy Warrender as
“Ceres”, the ancient Italian CornGoddess. These grain mysteries
were enacted by women only.
( 1887-1968) Marguerite and her husband William
were both devoted to bringing Fauvism to America.
Her pear floats in an abstract combing my figurative
work with her landscape. ( she made me do it!)
She and her husband William would paint on both
sides of a canvas, I enlisted my husband Jim to
paint a fragment of her work to honor them, thus
it is shown with a two sided framing.
I am grateful to the artist I referenced and all
women artist- my predecessors and
contemporaries for their creative impulses
and inspiration. I hope that my efforts and
this series, honor their achievements and
serve as a tribute to them. I intend to
continue this project through more research
into each woman’s life and their work to
further communicate their stories through
lectures, print materials and exhibitions.
Coni Minneci 1950-
Slide 14
From Sofonisba Anguissola to Marguerite Thompson Zorach
26 Still Life Paintings using the Pear as a
Metaphor for their work and their lives.
By Coni Minneci
My awareness of the inequities that have historically plagued
the recognition and accomplishments of women artist
compelled me in 2001 to write a paper entitled “ Women in
Art history: A – Z”, as a part of my studies at Empire College.
A few years later, the painting series was begun. These 26
paintings, created over a period of three years, was the result
of my reflection on the notes and other documentation that I
had gathered, and allowing the work and life of each of these
women to influence me and inspire an original still life
painting. Working with subliminal impulses and intuitive
thought, I conceived each work. Some came easily, and others
were perplexing visual challenges.
A woman renowned in her own time as a portrait
artist. I hid her image within this simple
composition as she hid a woman in her self
portrait. Can you find her?
“Self Portrait at the
Clavichord” 1561
Ahhh, Jennifer, stardom at a young age in the art
circles of America. Symphony of visual poetry,
simplified shapes, rhythm and repetition. A star in
the spotlight.
Detail from “Rhapsody” 1975
This outspoken Feminist artist has written seven
books and is exhibited world wide. I did to the
pear what I believe she thinks the history of art
has done to women.
“The Dinner Party” 1979 Five years in
the making, this installation recognizes the
accomplishments of 39 women in history.
Included in this image are fragments from her
early “Cubist Quilt” art, the thread floats within the
painting, representing three segments of her life:
artist-mother-wife.
A scene form the film “Le p’tit Parigot” (1926) with
costumes by Sonia and paintings on the wall by
Robert.
Her talent was hidden until the death of her
famous artist husband, Thomas Eakins. Color is
limited and an unopened flower is a symbol of
her talent waiting to bloom.
“Two Sisters” 1879 oil on canvas
Successful in the times she lived in, an amazing
figurative painter, she challenged me to try to
paint contrasting textures. This small attempt
tries to honor her.
“Portrait of a Noblewomen” 1580 National
Museum of Women in the Arts, Washington D.C.
A Buffalo artist whose work transcends space and
time. Her pear has floating text, and a small
globe, just a peak into Gordon’s world.
“Presenting Evidence” Albright-Knox Art Gallery
2002, a recreation of Gordon’s studio.
A woman who abandoned Abstract Expressionism
to investigate “Painting Art History. My image is
reactionary to her early works regarding
advertisement in America .
“December Second” 1959 Oil on Canvas
48 x 72 in.
NMWA
Responding to her book: “Juchitan de las Mujeres”, I
painted pears reflecting the strong-willed large bodies
women, the matriarchal community in her photoessay, who preserve their culture and traditions.
Juchitan de las Mujeres 1989 A community in
the far south of Mexico, with Zapotec-influences.
The title “Queen Mother” of African American Art was
bestowed upon her by her students & admirers.
Struggles against prejudice and criticism forced her to
have multiple identities as she grew in her art, so too
the pear.
“Ode to Kinshasa” 1972 Mixed Media on canvas
48 x 63 in. NMWA
Experiments with computer technology led Krause and
two women artists to form “Digital Atlelier”, a
printmakers group online. Forcing me to think another
way, the result has the pear open to new methods and
ideas.
Digital Atelier Exhibit , 2005, New Bedford Art
Museum
Little known Dutch painter, her work has often
been confused with Fans Hals. Her amusing
imagery prompted me to have fun with veggies
and her pear. Note: JL not F H!!
“The Concert” ca. 1633 Oil on Canvas NMWA
Working with wood and real found objects , often
including images of herself, Marisol’s work results
in ambiguous ironic , haunting sculptures, thus
this image with my wooden blocks.
“Women and dog” 1964 Wood, plaster, synthetic
polymer, and various media. Whitney museum of
American Art, NYC
Her figurative work has been described as consistent,
serious and an innovative body of work. Responding to
her encouragement, I included fragments of my “Diva”
series with her pear.
“Charlotte Willard” (detail) 1967, “Mary
Shoemaker” (detail) 1965, “Faith Ringgold” (detail)
1977 New Realism/”slyly psychological portraits”
Yes, the wife of Beatle John Lennon did something
else besides help break up the most popular band
in the world. Her pear floats in mystery.
A detail of Yoko Ono’s “Touch me III,”
2008, pre damage. NYC
Little known Irish painter working in oil, with
influences of Degas in some of her work. As she
did I looked to Degas for guidance .
“Trees by the Dodder” Oil on Canvas
Working in paint & collage, she voices concern for
Indian people & the land that was once theirs.
Sadly, I did to the pear what has been done to her
people.
“I See Red: Snowman,” 1992 oil and mixed media
on canvas. Examines American Indian life in
contrast to the consumerism of American society.
With WNY connections, a world collected artist, her
pear reflects the personal expressionism found in
her work.
“Provenance/ Two-Tone” 1975 Acrylic and
tempera on canvas AKG 60 x 113 in. “Seeking to
reconcile a new interest in imagery with the
vocabulary of abstraction…”
One of the founders of Hallwalls, Buffalo, NY, her
“Untitled Film Series” is in MOMA’s collection. Her pear
sits amidst garbage, in response to her Fairytales and
Disasters Series, Garbage is painted with unexpected
results.
Disaster Series: “Untitled #188” 1989
43 ¼ x 65” Cindy is absent from this
garbled image.
Known for her work in geometric forms, collected
world wide, including AKG. Her work inspired a
pear to be cut up and arranged with a particular
sense of design.
“Composition of circles and Semicircles” 1953
Gouache on paper, 10 x 13 ½” NMWA
Photographer of over 3,000 images of people, crafts
and landscapes the Appalachian Mountains, using
archaic large-format cameras. I was prompted to work
slowly, outdoors in limited color.
“Jason Reed” 1933, a chair
maker from North Carolina,
working wood on the shave
horse.
Dedicated to the Surrealist movement in the 1930’s, an
excellent draftswoman,Varo’s work included distorted
perspectives & unexplained narratives. Her pear floats
within a fragment of her work: “The Creation of Birds”.
“Vagabond” 1957 Oil on
Masonite 22 x 10 5/8 in.
Little known British painter of portraits, flowers
and seascapes, her technique reflected
impressionism. Called the best woman artist of
that time. I bowed to paint her pear with flowers.
Portrait: “ The hon. Mrs. Adams”
Circa 1901 oil on canvas
Vienna born figurative painter, Hausner calls her
work, “human landscapes.” My reaction: to paint a
“still life landscape” using fruit to contrast the
faded landscape.
“Lola” hand-painted lithograph
35 ½ x 45 ¼ in.
A successful British photographer, she dressed her
clients as Mythological Creatures and Goddesses.
So, her pear was donned with jewels, befitting
some mysterious subject.
Lady Dorothy Warrender as
“Ceres”, the ancient Italian CornGoddess. These grain mysteries
were enacted by women only.
( 1887-1968) Marguerite and her husband William
were both devoted to bringing Fauvism to America.
Her pear floats in an abstract combing my figurative
work with her landscape. ( she made me do it!)
She and her husband William would paint on both
sides of a canvas, I enlisted my husband Jim to
paint a fragment of her work to honor them, thus
it is shown with a two sided framing.
I am grateful to the artist I referenced and all
women artist- my predecessors and
contemporaries for their creative impulses
and inspiration. I hope that my efforts and
this series, honor their achievements and
serve as a tribute to them. I intend to
continue this project through more research
into each woman’s life and their work to
further communicate their stories through
lectures, print materials and exhibitions.
Coni Minneci 1950-
Slide 15
From Sofonisba Anguissola to Marguerite Thompson Zorach
26 Still Life Paintings using the Pear as a
Metaphor for their work and their lives.
By Coni Minneci
My awareness of the inequities that have historically plagued
the recognition and accomplishments of women artist
compelled me in 2001 to write a paper entitled “ Women in
Art history: A – Z”, as a part of my studies at Empire College.
A few years later, the painting series was begun. These 26
paintings, created over a period of three years, was the result
of my reflection on the notes and other documentation that I
had gathered, and allowing the work and life of each of these
women to influence me and inspire an original still life
painting. Working with subliminal impulses and intuitive
thought, I conceived each work. Some came easily, and others
were perplexing visual challenges.
A woman renowned in her own time as a portrait
artist. I hid her image within this simple
composition as she hid a woman in her self
portrait. Can you find her?
“Self Portrait at the
Clavichord” 1561
Ahhh, Jennifer, stardom at a young age in the art
circles of America. Symphony of visual poetry,
simplified shapes, rhythm and repetition. A star in
the spotlight.
Detail from “Rhapsody” 1975
This outspoken Feminist artist has written seven
books and is exhibited world wide. I did to the
pear what I believe she thinks the history of art
has done to women.
“The Dinner Party” 1979 Five years in
the making, this installation recognizes the
accomplishments of 39 women in history.
Included in this image are fragments from her
early “Cubist Quilt” art, the thread floats within the
painting, representing three segments of her life:
artist-mother-wife.
A scene form the film “Le p’tit Parigot” (1926) with
costumes by Sonia and paintings on the wall by
Robert.
Her talent was hidden until the death of her
famous artist husband, Thomas Eakins. Color is
limited and an unopened flower is a symbol of
her talent waiting to bloom.
“Two Sisters” 1879 oil on canvas
Successful in the times she lived in, an amazing
figurative painter, she challenged me to try to
paint contrasting textures. This small attempt
tries to honor her.
“Portrait of a Noblewomen” 1580 National
Museum of Women in the Arts, Washington D.C.
A Buffalo artist whose work transcends space and
time. Her pear has floating text, and a small
globe, just a peak into Gordon’s world.
“Presenting Evidence” Albright-Knox Art Gallery
2002, a recreation of Gordon’s studio.
A woman who abandoned Abstract Expressionism
to investigate “Painting Art History. My image is
reactionary to her early works regarding
advertisement in America .
“December Second” 1959 Oil on Canvas
48 x 72 in.
NMWA
Responding to her book: “Juchitan de las Mujeres”, I
painted pears reflecting the strong-willed large bodies
women, the matriarchal community in her photoessay, who preserve their culture and traditions.
Juchitan de las Mujeres 1989 A community in
the far south of Mexico, with Zapotec-influences.
The title “Queen Mother” of African American Art was
bestowed upon her by her students & admirers.
Struggles against prejudice and criticism forced her to
have multiple identities as she grew in her art, so too
the pear.
“Ode to Kinshasa” 1972 Mixed Media on canvas
48 x 63 in. NMWA
Experiments with computer technology led Krause and
two women artists to form “Digital Atlelier”, a
printmakers group online. Forcing me to think another
way, the result has the pear open to new methods and
ideas.
Digital Atelier Exhibit , 2005, New Bedford Art
Museum
Little known Dutch painter, her work has often
been confused with Fans Hals. Her amusing
imagery prompted me to have fun with veggies
and her pear. Note: JL not F H!!
“The Concert” ca. 1633 Oil on Canvas NMWA
Working with wood and real found objects , often
including images of herself, Marisol’s work results
in ambiguous ironic , haunting sculptures, thus
this image with my wooden blocks.
“Women and dog” 1964 Wood, plaster, synthetic
polymer, and various media. Whitney museum of
American Art, NYC
Her figurative work has been described as consistent,
serious and an innovative body of work. Responding to
her encouragement, I included fragments of my “Diva”
series with her pear.
“Charlotte Willard” (detail) 1967, “Mary
Shoemaker” (detail) 1965, “Faith Ringgold” (detail)
1977 New Realism/”slyly psychological portraits”
Yes, the wife of Beatle John Lennon did something
else besides help break up the most popular band
in the world. Her pear floats in mystery.
A detail of Yoko Ono’s “Touch me III,”
2008, pre damage. NYC
Little known Irish painter working in oil, with
influences of Degas in some of her work. As she
did I looked to Degas for guidance .
“Trees by the Dodder” Oil on Canvas
Working in paint & collage, she voices concern for
Indian people & the land that was once theirs.
Sadly, I did to the pear what has been done to her
people.
“I See Red: Snowman,” 1992 oil and mixed media
on canvas. Examines American Indian life in
contrast to the consumerism of American society.
With WNY connections, a world collected artist, her
pear reflects the personal expressionism found in
her work.
“Provenance/ Two-Tone” 1975 Acrylic and
tempera on canvas AKG 60 x 113 in. “Seeking to
reconcile a new interest in imagery with the
vocabulary of abstraction…”
One of the founders of Hallwalls, Buffalo, NY, her
“Untitled Film Series” is in MOMA’s collection. Her pear
sits amidst garbage, in response to her Fairytales and
Disasters Series, Garbage is painted with unexpected
results.
Disaster Series: “Untitled #188” 1989
43 ¼ x 65” Cindy is absent from this
garbled image.
Known for her work in geometric forms, collected
world wide, including AKG. Her work inspired a
pear to be cut up and arranged with a particular
sense of design.
“Composition of circles and Semicircles” 1953
Gouache on paper, 10 x 13 ½” NMWA
Photographer of over 3,000 images of people, crafts
and landscapes the Appalachian Mountains, using
archaic large-format cameras. I was prompted to work
slowly, outdoors in limited color.
“Jason Reed” 1933, a chair
maker from North Carolina,
working wood on the shave
horse.
Dedicated to the Surrealist movement in the 1930’s, an
excellent draftswoman,Varo’s work included distorted
perspectives & unexplained narratives. Her pear floats
within a fragment of her work: “The Creation of Birds”.
“Vagabond” 1957 Oil on
Masonite 22 x 10 5/8 in.
Little known British painter of portraits, flowers
and seascapes, her technique reflected
impressionism. Called the best woman artist of
that time. I bowed to paint her pear with flowers.
Portrait: “ The hon. Mrs. Adams”
Circa 1901 oil on canvas
Vienna born figurative painter, Hausner calls her
work, “human landscapes.” My reaction: to paint a
“still life landscape” using fruit to contrast the
faded landscape.
“Lola” hand-painted lithograph
35 ½ x 45 ¼ in.
A successful British photographer, she dressed her
clients as Mythological Creatures and Goddesses.
So, her pear was donned with jewels, befitting
some mysterious subject.
Lady Dorothy Warrender as
“Ceres”, the ancient Italian CornGoddess. These grain mysteries
were enacted by women only.
( 1887-1968) Marguerite and her husband William
were both devoted to bringing Fauvism to America.
Her pear floats in an abstract combing my figurative
work with her landscape. ( she made me do it!)
She and her husband William would paint on both
sides of a canvas, I enlisted my husband Jim to
paint a fragment of her work to honor them, thus
it is shown with a two sided framing.
I am grateful to the artist I referenced and all
women artist- my predecessors and
contemporaries for their creative impulses
and inspiration. I hope that my efforts and
this series, honor their achievements and
serve as a tribute to them. I intend to
continue this project through more research
into each woman’s life and their work to
further communicate their stories through
lectures, print materials and exhibitions.
Coni Minneci 1950-
Slide 16
From Sofonisba Anguissola to Marguerite Thompson Zorach
26 Still Life Paintings using the Pear as a
Metaphor for their work and their lives.
By Coni Minneci
My awareness of the inequities that have historically plagued
the recognition and accomplishments of women artist
compelled me in 2001 to write a paper entitled “ Women in
Art history: A – Z”, as a part of my studies at Empire College.
A few years later, the painting series was begun. These 26
paintings, created over a period of three years, was the result
of my reflection on the notes and other documentation that I
had gathered, and allowing the work and life of each of these
women to influence me and inspire an original still life
painting. Working with subliminal impulses and intuitive
thought, I conceived each work. Some came easily, and others
were perplexing visual challenges.
A woman renowned in her own time as a portrait
artist. I hid her image within this simple
composition as she hid a woman in her self
portrait. Can you find her?
“Self Portrait at the
Clavichord” 1561
Ahhh, Jennifer, stardom at a young age in the art
circles of America. Symphony of visual poetry,
simplified shapes, rhythm and repetition. A star in
the spotlight.
Detail from “Rhapsody” 1975
This outspoken Feminist artist has written seven
books and is exhibited world wide. I did to the
pear what I believe she thinks the history of art
has done to women.
“The Dinner Party” 1979 Five years in
the making, this installation recognizes the
accomplishments of 39 women in history.
Included in this image are fragments from her
early “Cubist Quilt” art, the thread floats within the
painting, representing three segments of her life:
artist-mother-wife.
A scene form the film “Le p’tit Parigot” (1926) with
costumes by Sonia and paintings on the wall by
Robert.
Her talent was hidden until the death of her
famous artist husband, Thomas Eakins. Color is
limited and an unopened flower is a symbol of
her talent waiting to bloom.
“Two Sisters” 1879 oil on canvas
Successful in the times she lived in, an amazing
figurative painter, she challenged me to try to
paint contrasting textures. This small attempt
tries to honor her.
“Portrait of a Noblewomen” 1580 National
Museum of Women in the Arts, Washington D.C.
A Buffalo artist whose work transcends space and
time. Her pear has floating text, and a small
globe, just a peak into Gordon’s world.
“Presenting Evidence” Albright-Knox Art Gallery
2002, a recreation of Gordon’s studio.
A woman who abandoned Abstract Expressionism
to investigate “Painting Art History. My image is
reactionary to her early works regarding
advertisement in America .
“December Second” 1959 Oil on Canvas
48 x 72 in.
NMWA
Responding to her book: “Juchitan de las Mujeres”, I
painted pears reflecting the strong-willed large bodies
women, the matriarchal community in her photoessay, who preserve their culture and traditions.
Juchitan de las Mujeres 1989 A community in
the far south of Mexico, with Zapotec-influences.
The title “Queen Mother” of African American Art was
bestowed upon her by her students & admirers.
Struggles against prejudice and criticism forced her to
have multiple identities as she grew in her art, so too
the pear.
“Ode to Kinshasa” 1972 Mixed Media on canvas
48 x 63 in. NMWA
Experiments with computer technology led Krause and
two women artists to form “Digital Atlelier”, a
printmakers group online. Forcing me to think another
way, the result has the pear open to new methods and
ideas.
Digital Atelier Exhibit , 2005, New Bedford Art
Museum
Little known Dutch painter, her work has often
been confused with Fans Hals. Her amusing
imagery prompted me to have fun with veggies
and her pear. Note: JL not F H!!
“The Concert” ca. 1633 Oil on Canvas NMWA
Working with wood and real found objects , often
including images of herself, Marisol’s work results
in ambiguous ironic , haunting sculptures, thus
this image with my wooden blocks.
“Women and dog” 1964 Wood, plaster, synthetic
polymer, and various media. Whitney museum of
American Art, NYC
Her figurative work has been described as consistent,
serious and an innovative body of work. Responding to
her encouragement, I included fragments of my “Diva”
series with her pear.
“Charlotte Willard” (detail) 1967, “Mary
Shoemaker” (detail) 1965, “Faith Ringgold” (detail)
1977 New Realism/”slyly psychological portraits”
Yes, the wife of Beatle John Lennon did something
else besides help break up the most popular band
in the world. Her pear floats in mystery.
A detail of Yoko Ono’s “Touch me III,”
2008, pre damage. NYC
Little known Irish painter working in oil, with
influences of Degas in some of her work. As she
did I looked to Degas for guidance .
“Trees by the Dodder” Oil on Canvas
Working in paint & collage, she voices concern for
Indian people & the land that was once theirs.
Sadly, I did to the pear what has been done to her
people.
“I See Red: Snowman,” 1992 oil and mixed media
on canvas. Examines American Indian life in
contrast to the consumerism of American society.
With WNY connections, a world collected artist, her
pear reflects the personal expressionism found in
her work.
“Provenance/ Two-Tone” 1975 Acrylic and
tempera on canvas AKG 60 x 113 in. “Seeking to
reconcile a new interest in imagery with the
vocabulary of abstraction…”
One of the founders of Hallwalls, Buffalo, NY, her
“Untitled Film Series” is in MOMA’s collection. Her pear
sits amidst garbage, in response to her Fairytales and
Disasters Series, Garbage is painted with unexpected
results.
Disaster Series: “Untitled #188” 1989
43 ¼ x 65” Cindy is absent from this
garbled image.
Known for her work in geometric forms, collected
world wide, including AKG. Her work inspired a
pear to be cut up and arranged with a particular
sense of design.
“Composition of circles and Semicircles” 1953
Gouache on paper, 10 x 13 ½” NMWA
Photographer of over 3,000 images of people, crafts
and landscapes the Appalachian Mountains, using
archaic large-format cameras. I was prompted to work
slowly, outdoors in limited color.
“Jason Reed” 1933, a chair
maker from North Carolina,
working wood on the shave
horse.
Dedicated to the Surrealist movement in the 1930’s, an
excellent draftswoman,Varo’s work included distorted
perspectives & unexplained narratives. Her pear floats
within a fragment of her work: “The Creation of Birds”.
“Vagabond” 1957 Oil on
Masonite 22 x 10 5/8 in.
Little known British painter of portraits, flowers
and seascapes, her technique reflected
impressionism. Called the best woman artist of
that time. I bowed to paint her pear with flowers.
Portrait: “ The hon. Mrs. Adams”
Circa 1901 oil on canvas
Vienna born figurative painter, Hausner calls her
work, “human landscapes.” My reaction: to paint a
“still life landscape” using fruit to contrast the
faded landscape.
“Lola” hand-painted lithograph
35 ½ x 45 ¼ in.
A successful British photographer, she dressed her
clients as Mythological Creatures and Goddesses.
So, her pear was donned with jewels, befitting
some mysterious subject.
Lady Dorothy Warrender as
“Ceres”, the ancient Italian CornGoddess. These grain mysteries
were enacted by women only.
( 1887-1968) Marguerite and her husband William
were both devoted to bringing Fauvism to America.
Her pear floats in an abstract combing my figurative
work with her landscape. ( she made me do it!)
She and her husband William would paint on both
sides of a canvas, I enlisted my husband Jim to
paint a fragment of her work to honor them, thus
it is shown with a two sided framing.
I am grateful to the artist I referenced and all
women artist- my predecessors and
contemporaries for their creative impulses
and inspiration. I hope that my efforts and
this series, honor their achievements and
serve as a tribute to them. I intend to
continue this project through more research
into each woman’s life and their work to
further communicate their stories through
lectures, print materials and exhibitions.
Coni Minneci 1950-
Slide 17
From Sofonisba Anguissola to Marguerite Thompson Zorach
26 Still Life Paintings using the Pear as a
Metaphor for their work and their lives.
By Coni Minneci
My awareness of the inequities that have historically plagued
the recognition and accomplishments of women artist
compelled me in 2001 to write a paper entitled “ Women in
Art history: A – Z”, as a part of my studies at Empire College.
A few years later, the painting series was begun. These 26
paintings, created over a period of three years, was the result
of my reflection on the notes and other documentation that I
had gathered, and allowing the work and life of each of these
women to influence me and inspire an original still life
painting. Working with subliminal impulses and intuitive
thought, I conceived each work. Some came easily, and others
were perplexing visual challenges.
A woman renowned in her own time as a portrait
artist. I hid her image within this simple
composition as she hid a woman in her self
portrait. Can you find her?
“Self Portrait at the
Clavichord” 1561
Ahhh, Jennifer, stardom at a young age in the art
circles of America. Symphony of visual poetry,
simplified shapes, rhythm and repetition. A star in
the spotlight.
Detail from “Rhapsody” 1975
This outspoken Feminist artist has written seven
books and is exhibited world wide. I did to the
pear what I believe she thinks the history of art
has done to women.
“The Dinner Party” 1979 Five years in
the making, this installation recognizes the
accomplishments of 39 women in history.
Included in this image are fragments from her
early “Cubist Quilt” art, the thread floats within the
painting, representing three segments of her life:
artist-mother-wife.
A scene form the film “Le p’tit Parigot” (1926) with
costumes by Sonia and paintings on the wall by
Robert.
Her talent was hidden until the death of her
famous artist husband, Thomas Eakins. Color is
limited and an unopened flower is a symbol of
her talent waiting to bloom.
“Two Sisters” 1879 oil on canvas
Successful in the times she lived in, an amazing
figurative painter, she challenged me to try to
paint contrasting textures. This small attempt
tries to honor her.
“Portrait of a Noblewomen” 1580 National
Museum of Women in the Arts, Washington D.C.
A Buffalo artist whose work transcends space and
time. Her pear has floating text, and a small
globe, just a peak into Gordon’s world.
“Presenting Evidence” Albright-Knox Art Gallery
2002, a recreation of Gordon’s studio.
A woman who abandoned Abstract Expressionism
to investigate “Painting Art History. My image is
reactionary to her early works regarding
advertisement in America .
“December Second” 1959 Oil on Canvas
48 x 72 in.
NMWA
Responding to her book: “Juchitan de las Mujeres”, I
painted pears reflecting the strong-willed large bodies
women, the matriarchal community in her photoessay, who preserve their culture and traditions.
Juchitan de las Mujeres 1989 A community in
the far south of Mexico, with Zapotec-influences.
The title “Queen Mother” of African American Art was
bestowed upon her by her students & admirers.
Struggles against prejudice and criticism forced her to
have multiple identities as she grew in her art, so too
the pear.
“Ode to Kinshasa” 1972 Mixed Media on canvas
48 x 63 in. NMWA
Experiments with computer technology led Krause and
two women artists to form “Digital Atlelier”, a
printmakers group online. Forcing me to think another
way, the result has the pear open to new methods and
ideas.
Digital Atelier Exhibit , 2005, New Bedford Art
Museum
Little known Dutch painter, her work has often
been confused with Fans Hals. Her amusing
imagery prompted me to have fun with veggies
and her pear. Note: JL not F H!!
“The Concert” ca. 1633 Oil on Canvas NMWA
Working with wood and real found objects , often
including images of herself, Marisol’s work results
in ambiguous ironic , haunting sculptures, thus
this image with my wooden blocks.
“Women and dog” 1964 Wood, plaster, synthetic
polymer, and various media. Whitney museum of
American Art, NYC
Her figurative work has been described as consistent,
serious and an innovative body of work. Responding to
her encouragement, I included fragments of my “Diva”
series with her pear.
“Charlotte Willard” (detail) 1967, “Mary
Shoemaker” (detail) 1965, “Faith Ringgold” (detail)
1977 New Realism/”slyly psychological portraits”
Yes, the wife of Beatle John Lennon did something
else besides help break up the most popular band
in the world. Her pear floats in mystery.
A detail of Yoko Ono’s “Touch me III,”
2008, pre damage. NYC
Little known Irish painter working in oil, with
influences of Degas in some of her work. As she
did I looked to Degas for guidance .
“Trees by the Dodder” Oil on Canvas
Working in paint & collage, she voices concern for
Indian people & the land that was once theirs.
Sadly, I did to the pear what has been done to her
people.
“I See Red: Snowman,” 1992 oil and mixed media
on canvas. Examines American Indian life in
contrast to the consumerism of American society.
With WNY connections, a world collected artist, her
pear reflects the personal expressionism found in
her work.
“Provenance/ Two-Tone” 1975 Acrylic and
tempera on canvas AKG 60 x 113 in. “Seeking to
reconcile a new interest in imagery with the
vocabulary of abstraction…”
One of the founders of Hallwalls, Buffalo, NY, her
“Untitled Film Series” is in MOMA’s collection. Her pear
sits amidst garbage, in response to her Fairytales and
Disasters Series, Garbage is painted with unexpected
results.
Disaster Series: “Untitled #188” 1989
43 ¼ x 65” Cindy is absent from this
garbled image.
Known for her work in geometric forms, collected
world wide, including AKG. Her work inspired a
pear to be cut up and arranged with a particular
sense of design.
“Composition of circles and Semicircles” 1953
Gouache on paper, 10 x 13 ½” NMWA
Photographer of over 3,000 images of people, crafts
and landscapes the Appalachian Mountains, using
archaic large-format cameras. I was prompted to work
slowly, outdoors in limited color.
“Jason Reed” 1933, a chair
maker from North Carolina,
working wood on the shave
horse.
Dedicated to the Surrealist movement in the 1930’s, an
excellent draftswoman,Varo’s work included distorted
perspectives & unexplained narratives. Her pear floats
within a fragment of her work: “The Creation of Birds”.
“Vagabond” 1957 Oil on
Masonite 22 x 10 5/8 in.
Little known British painter of portraits, flowers
and seascapes, her technique reflected
impressionism. Called the best woman artist of
that time. I bowed to paint her pear with flowers.
Portrait: “ The hon. Mrs. Adams”
Circa 1901 oil on canvas
Vienna born figurative painter, Hausner calls her
work, “human landscapes.” My reaction: to paint a
“still life landscape” using fruit to contrast the
faded landscape.
“Lola” hand-painted lithograph
35 ½ x 45 ¼ in.
A successful British photographer, she dressed her
clients as Mythological Creatures and Goddesses.
So, her pear was donned with jewels, befitting
some mysterious subject.
Lady Dorothy Warrender as
“Ceres”, the ancient Italian CornGoddess. These grain mysteries
were enacted by women only.
( 1887-1968) Marguerite and her husband William
were both devoted to bringing Fauvism to America.
Her pear floats in an abstract combing my figurative
work with her landscape. ( she made me do it!)
She and her husband William would paint on both
sides of a canvas, I enlisted my husband Jim to
paint a fragment of her work to honor them, thus
it is shown with a two sided framing.
I am grateful to the artist I referenced and all
women artist- my predecessors and
contemporaries for their creative impulses
and inspiration. I hope that my efforts and
this series, honor their achievements and
serve as a tribute to them. I intend to
continue this project through more research
into each woman’s life and their work to
further communicate their stories through
lectures, print materials and exhibitions.
Coni Minneci 1950-
Slide 18
From Sofonisba Anguissola to Marguerite Thompson Zorach
26 Still Life Paintings using the Pear as a
Metaphor for their work and their lives.
By Coni Minneci
My awareness of the inequities that have historically plagued
the recognition and accomplishments of women artist
compelled me in 2001 to write a paper entitled “ Women in
Art history: A – Z”, as a part of my studies at Empire College.
A few years later, the painting series was begun. These 26
paintings, created over a period of three years, was the result
of my reflection on the notes and other documentation that I
had gathered, and allowing the work and life of each of these
women to influence me and inspire an original still life
painting. Working with subliminal impulses and intuitive
thought, I conceived each work. Some came easily, and others
were perplexing visual challenges.
A woman renowned in her own time as a portrait
artist. I hid her image within this simple
composition as she hid a woman in her self
portrait. Can you find her?
“Self Portrait at the
Clavichord” 1561
Ahhh, Jennifer, stardom at a young age in the art
circles of America. Symphony of visual poetry,
simplified shapes, rhythm and repetition. A star in
the spotlight.
Detail from “Rhapsody” 1975
This outspoken Feminist artist has written seven
books and is exhibited world wide. I did to the
pear what I believe she thinks the history of art
has done to women.
“The Dinner Party” 1979 Five years in
the making, this installation recognizes the
accomplishments of 39 women in history.
Included in this image are fragments from her
early “Cubist Quilt” art, the thread floats within the
painting, representing three segments of her life:
artist-mother-wife.
A scene form the film “Le p’tit Parigot” (1926) with
costumes by Sonia and paintings on the wall by
Robert.
Her talent was hidden until the death of her
famous artist husband, Thomas Eakins. Color is
limited and an unopened flower is a symbol of
her talent waiting to bloom.
“Two Sisters” 1879 oil on canvas
Successful in the times she lived in, an amazing
figurative painter, she challenged me to try to
paint contrasting textures. This small attempt
tries to honor her.
“Portrait of a Noblewomen” 1580 National
Museum of Women in the Arts, Washington D.C.
A Buffalo artist whose work transcends space and
time. Her pear has floating text, and a small
globe, just a peak into Gordon’s world.
“Presenting Evidence” Albright-Knox Art Gallery
2002, a recreation of Gordon’s studio.
A woman who abandoned Abstract Expressionism
to investigate “Painting Art History. My image is
reactionary to her early works regarding
advertisement in America .
“December Second” 1959 Oil on Canvas
48 x 72 in.
NMWA
Responding to her book: “Juchitan de las Mujeres”, I
painted pears reflecting the strong-willed large bodies
women, the matriarchal community in her photoessay, who preserve their culture and traditions.
Juchitan de las Mujeres 1989 A community in
the far south of Mexico, with Zapotec-influences.
The title “Queen Mother” of African American Art was
bestowed upon her by her students & admirers.
Struggles against prejudice and criticism forced her to
have multiple identities as she grew in her art, so too
the pear.
“Ode to Kinshasa” 1972 Mixed Media on canvas
48 x 63 in. NMWA
Experiments with computer technology led Krause and
two women artists to form “Digital Atlelier”, a
printmakers group online. Forcing me to think another
way, the result has the pear open to new methods and
ideas.
Digital Atelier Exhibit , 2005, New Bedford Art
Museum
Little known Dutch painter, her work has often
been confused with Fans Hals. Her amusing
imagery prompted me to have fun with veggies
and her pear. Note: JL not F H!!
“The Concert” ca. 1633 Oil on Canvas NMWA
Working with wood and real found objects , often
including images of herself, Marisol’s work results
in ambiguous ironic , haunting sculptures, thus
this image with my wooden blocks.
“Women and dog” 1964 Wood, plaster, synthetic
polymer, and various media. Whitney museum of
American Art, NYC
Her figurative work has been described as consistent,
serious and an innovative body of work. Responding to
her encouragement, I included fragments of my “Diva”
series with her pear.
“Charlotte Willard” (detail) 1967, “Mary
Shoemaker” (detail) 1965, “Faith Ringgold” (detail)
1977 New Realism/”slyly psychological portraits”
Yes, the wife of Beatle John Lennon did something
else besides help break up the most popular band
in the world. Her pear floats in mystery.
A detail of Yoko Ono’s “Touch me III,”
2008, pre damage. NYC
Little known Irish painter working in oil, with
influences of Degas in some of her work. As she
did I looked to Degas for guidance .
“Trees by the Dodder” Oil on Canvas
Working in paint & collage, she voices concern for
Indian people & the land that was once theirs.
Sadly, I did to the pear what has been done to her
people.
“I See Red: Snowman,” 1992 oil and mixed media
on canvas. Examines American Indian life in
contrast to the consumerism of American society.
With WNY connections, a world collected artist, her
pear reflects the personal expressionism found in
her work.
“Provenance/ Two-Tone” 1975 Acrylic and
tempera on canvas AKG 60 x 113 in. “Seeking to
reconcile a new interest in imagery with the
vocabulary of abstraction…”
One of the founders of Hallwalls, Buffalo, NY, her
“Untitled Film Series” is in MOMA’s collection. Her pear
sits amidst garbage, in response to her Fairytales and
Disasters Series, Garbage is painted with unexpected
results.
Disaster Series: “Untitled #188” 1989
43 ¼ x 65” Cindy is absent from this
garbled image.
Known for her work in geometric forms, collected
world wide, including AKG. Her work inspired a
pear to be cut up and arranged with a particular
sense of design.
“Composition of circles and Semicircles” 1953
Gouache on paper, 10 x 13 ½” NMWA
Photographer of over 3,000 images of people, crafts
and landscapes the Appalachian Mountains, using
archaic large-format cameras. I was prompted to work
slowly, outdoors in limited color.
“Jason Reed” 1933, a chair
maker from North Carolina,
working wood on the shave
horse.
Dedicated to the Surrealist movement in the 1930’s, an
excellent draftswoman,Varo’s work included distorted
perspectives & unexplained narratives. Her pear floats
within a fragment of her work: “The Creation of Birds”.
“Vagabond” 1957 Oil on
Masonite 22 x 10 5/8 in.
Little known British painter of portraits, flowers
and seascapes, her technique reflected
impressionism. Called the best woman artist of
that time. I bowed to paint her pear with flowers.
Portrait: “ The hon. Mrs. Adams”
Circa 1901 oil on canvas
Vienna born figurative painter, Hausner calls her
work, “human landscapes.” My reaction: to paint a
“still life landscape” using fruit to contrast the
faded landscape.
“Lola” hand-painted lithograph
35 ½ x 45 ¼ in.
A successful British photographer, she dressed her
clients as Mythological Creatures and Goddesses.
So, her pear was donned with jewels, befitting
some mysterious subject.
Lady Dorothy Warrender as
“Ceres”, the ancient Italian CornGoddess. These grain mysteries
were enacted by women only.
( 1887-1968) Marguerite and her husband William
were both devoted to bringing Fauvism to America.
Her pear floats in an abstract combing my figurative
work with her landscape. ( she made me do it!)
She and her husband William would paint on both
sides of a canvas, I enlisted my husband Jim to
paint a fragment of her work to honor them, thus
it is shown with a two sided framing.
I am grateful to the artist I referenced and all
women artist- my predecessors and
contemporaries for their creative impulses
and inspiration. I hope that my efforts and
this series, honor their achievements and
serve as a tribute to them. I intend to
continue this project through more research
into each woman’s life and their work to
further communicate their stories through
lectures, print materials and exhibitions.
Coni Minneci 1950-
Slide 19
From Sofonisba Anguissola to Marguerite Thompson Zorach
26 Still Life Paintings using the Pear as a
Metaphor for their work and their lives.
By Coni Minneci
My awareness of the inequities that have historically plagued
the recognition and accomplishments of women artist
compelled me in 2001 to write a paper entitled “ Women in
Art history: A – Z”, as a part of my studies at Empire College.
A few years later, the painting series was begun. These 26
paintings, created over a period of three years, was the result
of my reflection on the notes and other documentation that I
had gathered, and allowing the work and life of each of these
women to influence me and inspire an original still life
painting. Working with subliminal impulses and intuitive
thought, I conceived each work. Some came easily, and others
were perplexing visual challenges.
A woman renowned in her own time as a portrait
artist. I hid her image within this simple
composition as she hid a woman in her self
portrait. Can you find her?
“Self Portrait at the
Clavichord” 1561
Ahhh, Jennifer, stardom at a young age in the art
circles of America. Symphony of visual poetry,
simplified shapes, rhythm and repetition. A star in
the spotlight.
Detail from “Rhapsody” 1975
This outspoken Feminist artist has written seven
books and is exhibited world wide. I did to the
pear what I believe she thinks the history of art
has done to women.
“The Dinner Party” 1979 Five years in
the making, this installation recognizes the
accomplishments of 39 women in history.
Included in this image are fragments from her
early “Cubist Quilt” art, the thread floats within the
painting, representing three segments of her life:
artist-mother-wife.
A scene form the film “Le p’tit Parigot” (1926) with
costumes by Sonia and paintings on the wall by
Robert.
Her talent was hidden until the death of her
famous artist husband, Thomas Eakins. Color is
limited and an unopened flower is a symbol of
her talent waiting to bloom.
“Two Sisters” 1879 oil on canvas
Successful in the times she lived in, an amazing
figurative painter, she challenged me to try to
paint contrasting textures. This small attempt
tries to honor her.
“Portrait of a Noblewomen” 1580 National
Museum of Women in the Arts, Washington D.C.
A Buffalo artist whose work transcends space and
time. Her pear has floating text, and a small
globe, just a peak into Gordon’s world.
“Presenting Evidence” Albright-Knox Art Gallery
2002, a recreation of Gordon’s studio.
A woman who abandoned Abstract Expressionism
to investigate “Painting Art History. My image is
reactionary to her early works regarding
advertisement in America .
“December Second” 1959 Oil on Canvas
48 x 72 in.
NMWA
Responding to her book: “Juchitan de las Mujeres”, I
painted pears reflecting the strong-willed large bodies
women, the matriarchal community in her photoessay, who preserve their culture and traditions.
Juchitan de las Mujeres 1989 A community in
the far south of Mexico, with Zapotec-influences.
The title “Queen Mother” of African American Art was
bestowed upon her by her students & admirers.
Struggles against prejudice and criticism forced her to
have multiple identities as she grew in her art, so too
the pear.
“Ode to Kinshasa” 1972 Mixed Media on canvas
48 x 63 in. NMWA
Experiments with computer technology led Krause and
two women artists to form “Digital Atlelier”, a
printmakers group online. Forcing me to think another
way, the result has the pear open to new methods and
ideas.
Digital Atelier Exhibit , 2005, New Bedford Art
Museum
Little known Dutch painter, her work has often
been confused with Fans Hals. Her amusing
imagery prompted me to have fun with veggies
and her pear. Note: JL not F H!!
“The Concert” ca. 1633 Oil on Canvas NMWA
Working with wood and real found objects , often
including images of herself, Marisol’s work results
in ambiguous ironic , haunting sculptures, thus
this image with my wooden blocks.
“Women and dog” 1964 Wood, plaster, synthetic
polymer, and various media. Whitney museum of
American Art, NYC
Her figurative work has been described as consistent,
serious and an innovative body of work. Responding to
her encouragement, I included fragments of my “Diva”
series with her pear.
“Charlotte Willard” (detail) 1967, “Mary
Shoemaker” (detail) 1965, “Faith Ringgold” (detail)
1977 New Realism/”slyly psychological portraits”
Yes, the wife of Beatle John Lennon did something
else besides help break up the most popular band
in the world. Her pear floats in mystery.
A detail of Yoko Ono’s “Touch me III,”
2008, pre damage. NYC
Little known Irish painter working in oil, with
influences of Degas in some of her work. As she
did I looked to Degas for guidance .
“Trees by the Dodder” Oil on Canvas
Working in paint & collage, she voices concern for
Indian people & the land that was once theirs.
Sadly, I did to the pear what has been done to her
people.
“I See Red: Snowman,” 1992 oil and mixed media
on canvas. Examines American Indian life in
contrast to the consumerism of American society.
With WNY connections, a world collected artist, her
pear reflects the personal expressionism found in
her work.
“Provenance/ Two-Tone” 1975 Acrylic and
tempera on canvas AKG 60 x 113 in. “Seeking to
reconcile a new interest in imagery with the
vocabulary of abstraction…”
One of the founders of Hallwalls, Buffalo, NY, her
“Untitled Film Series” is in MOMA’s collection. Her pear
sits amidst garbage, in response to her Fairytales and
Disasters Series, Garbage is painted with unexpected
results.
Disaster Series: “Untitled #188” 1989
43 ¼ x 65” Cindy is absent from this
garbled image.
Known for her work in geometric forms, collected
world wide, including AKG. Her work inspired a
pear to be cut up and arranged with a particular
sense of design.
“Composition of circles and Semicircles” 1953
Gouache on paper, 10 x 13 ½” NMWA
Photographer of over 3,000 images of people, crafts
and landscapes the Appalachian Mountains, using
archaic large-format cameras. I was prompted to work
slowly, outdoors in limited color.
“Jason Reed” 1933, a chair
maker from North Carolina,
working wood on the shave
horse.
Dedicated to the Surrealist movement in the 1930’s, an
excellent draftswoman,Varo’s work included distorted
perspectives & unexplained narratives. Her pear floats
within a fragment of her work: “The Creation of Birds”.
“Vagabond” 1957 Oil on
Masonite 22 x 10 5/8 in.
Little known British painter of portraits, flowers
and seascapes, her technique reflected
impressionism. Called the best woman artist of
that time. I bowed to paint her pear with flowers.
Portrait: “ The hon. Mrs. Adams”
Circa 1901 oil on canvas
Vienna born figurative painter, Hausner calls her
work, “human landscapes.” My reaction: to paint a
“still life landscape” using fruit to contrast the
faded landscape.
“Lola” hand-painted lithograph
35 ½ x 45 ¼ in.
A successful British photographer, she dressed her
clients as Mythological Creatures and Goddesses.
So, her pear was donned with jewels, befitting
some mysterious subject.
Lady Dorothy Warrender as
“Ceres”, the ancient Italian CornGoddess. These grain mysteries
were enacted by women only.
( 1887-1968) Marguerite and her husband William
were both devoted to bringing Fauvism to America.
Her pear floats in an abstract combing my figurative
work with her landscape. ( she made me do it!)
She and her husband William would paint on both
sides of a canvas, I enlisted my husband Jim to
paint a fragment of her work to honor them, thus
it is shown with a two sided framing.
I am grateful to the artist I referenced and all
women artist- my predecessors and
contemporaries for their creative impulses
and inspiration. I hope that my efforts and
this series, honor their achievements and
serve as a tribute to them. I intend to
continue this project through more research
into each woman’s life and their work to
further communicate their stories through
lectures, print materials and exhibitions.
Coni Minneci 1950-
Slide 20
From Sofonisba Anguissola to Marguerite Thompson Zorach
26 Still Life Paintings using the Pear as a
Metaphor for their work and their lives.
By Coni Minneci
My awareness of the inequities that have historically plagued
the recognition and accomplishments of women artist
compelled me in 2001 to write a paper entitled “ Women in
Art history: A – Z”, as a part of my studies at Empire College.
A few years later, the painting series was begun. These 26
paintings, created over a period of three years, was the result
of my reflection on the notes and other documentation that I
had gathered, and allowing the work and life of each of these
women to influence me and inspire an original still life
painting. Working with subliminal impulses and intuitive
thought, I conceived each work. Some came easily, and others
were perplexing visual challenges.
A woman renowned in her own time as a portrait
artist. I hid her image within this simple
composition as she hid a woman in her self
portrait. Can you find her?
“Self Portrait at the
Clavichord” 1561
Ahhh, Jennifer, stardom at a young age in the art
circles of America. Symphony of visual poetry,
simplified shapes, rhythm and repetition. A star in
the spotlight.
Detail from “Rhapsody” 1975
This outspoken Feminist artist has written seven
books and is exhibited world wide. I did to the
pear what I believe she thinks the history of art
has done to women.
“The Dinner Party” 1979 Five years in
the making, this installation recognizes the
accomplishments of 39 women in history.
Included in this image are fragments from her
early “Cubist Quilt” art, the thread floats within the
painting, representing three segments of her life:
artist-mother-wife.
A scene form the film “Le p’tit Parigot” (1926) with
costumes by Sonia and paintings on the wall by
Robert.
Her talent was hidden until the death of her
famous artist husband, Thomas Eakins. Color is
limited and an unopened flower is a symbol of
her talent waiting to bloom.
“Two Sisters” 1879 oil on canvas
Successful in the times she lived in, an amazing
figurative painter, she challenged me to try to
paint contrasting textures. This small attempt
tries to honor her.
“Portrait of a Noblewomen” 1580 National
Museum of Women in the Arts, Washington D.C.
A Buffalo artist whose work transcends space and
time. Her pear has floating text, and a small
globe, just a peak into Gordon’s world.
“Presenting Evidence” Albright-Knox Art Gallery
2002, a recreation of Gordon’s studio.
A woman who abandoned Abstract Expressionism
to investigate “Painting Art History. My image is
reactionary to her early works regarding
advertisement in America .
“December Second” 1959 Oil on Canvas
48 x 72 in.
NMWA
Responding to her book: “Juchitan de las Mujeres”, I
painted pears reflecting the strong-willed large bodies
women, the matriarchal community in her photoessay, who preserve their culture and traditions.
Juchitan de las Mujeres 1989 A community in
the far south of Mexico, with Zapotec-influences.
The title “Queen Mother” of African American Art was
bestowed upon her by her students & admirers.
Struggles against prejudice and criticism forced her to
have multiple identities as she grew in her art, so too
the pear.
“Ode to Kinshasa” 1972 Mixed Media on canvas
48 x 63 in. NMWA
Experiments with computer technology led Krause and
two women artists to form “Digital Atlelier”, a
printmakers group online. Forcing me to think another
way, the result has the pear open to new methods and
ideas.
Digital Atelier Exhibit , 2005, New Bedford Art
Museum
Little known Dutch painter, her work has often
been confused with Fans Hals. Her amusing
imagery prompted me to have fun with veggies
and her pear. Note: JL not F H!!
“The Concert” ca. 1633 Oil on Canvas NMWA
Working with wood and real found objects , often
including images of herself, Marisol’s work results
in ambiguous ironic , haunting sculptures, thus
this image with my wooden blocks.
“Women and dog” 1964 Wood, plaster, synthetic
polymer, and various media. Whitney museum of
American Art, NYC
Her figurative work has been described as consistent,
serious and an innovative body of work. Responding to
her encouragement, I included fragments of my “Diva”
series with her pear.
“Charlotte Willard” (detail) 1967, “Mary
Shoemaker” (detail) 1965, “Faith Ringgold” (detail)
1977 New Realism/”slyly psychological portraits”
Yes, the wife of Beatle John Lennon did something
else besides help break up the most popular band
in the world. Her pear floats in mystery.
A detail of Yoko Ono’s “Touch me III,”
2008, pre damage. NYC
Little known Irish painter working in oil, with
influences of Degas in some of her work. As she
did I looked to Degas for guidance .
“Trees by the Dodder” Oil on Canvas
Working in paint & collage, she voices concern for
Indian people & the land that was once theirs.
Sadly, I did to the pear what has been done to her
people.
“I See Red: Snowman,” 1992 oil and mixed media
on canvas. Examines American Indian life in
contrast to the consumerism of American society.
With WNY connections, a world collected artist, her
pear reflects the personal expressionism found in
her work.
“Provenance/ Two-Tone” 1975 Acrylic and
tempera on canvas AKG 60 x 113 in. “Seeking to
reconcile a new interest in imagery with the
vocabulary of abstraction…”
One of the founders of Hallwalls, Buffalo, NY, her
“Untitled Film Series” is in MOMA’s collection. Her pear
sits amidst garbage, in response to her Fairytales and
Disasters Series, Garbage is painted with unexpected
results.
Disaster Series: “Untitled #188” 1989
43 ¼ x 65” Cindy is absent from this
garbled image.
Known for her work in geometric forms, collected
world wide, including AKG. Her work inspired a
pear to be cut up and arranged with a particular
sense of design.
“Composition of circles and Semicircles” 1953
Gouache on paper, 10 x 13 ½” NMWA
Photographer of over 3,000 images of people, crafts
and landscapes the Appalachian Mountains, using
archaic large-format cameras. I was prompted to work
slowly, outdoors in limited color.
“Jason Reed” 1933, a chair
maker from North Carolina,
working wood on the shave
horse.
Dedicated to the Surrealist movement in the 1930’s, an
excellent draftswoman,Varo’s work included distorted
perspectives & unexplained narratives. Her pear floats
within a fragment of her work: “The Creation of Birds”.
“Vagabond” 1957 Oil on
Masonite 22 x 10 5/8 in.
Little known British painter of portraits, flowers
and seascapes, her technique reflected
impressionism. Called the best woman artist of
that time. I bowed to paint her pear with flowers.
Portrait: “ The hon. Mrs. Adams”
Circa 1901 oil on canvas
Vienna born figurative painter, Hausner calls her
work, “human landscapes.” My reaction: to paint a
“still life landscape” using fruit to contrast the
faded landscape.
“Lola” hand-painted lithograph
35 ½ x 45 ¼ in.
A successful British photographer, she dressed her
clients as Mythological Creatures and Goddesses.
So, her pear was donned with jewels, befitting
some mysterious subject.
Lady Dorothy Warrender as
“Ceres”, the ancient Italian CornGoddess. These grain mysteries
were enacted by women only.
( 1887-1968) Marguerite and her husband William
were both devoted to bringing Fauvism to America.
Her pear floats in an abstract combing my figurative
work with her landscape. ( she made me do it!)
She and her husband William would paint on both
sides of a canvas, I enlisted my husband Jim to
paint a fragment of her work to honor them, thus
it is shown with a two sided framing.
I am grateful to the artist I referenced and all
women artist- my predecessors and
contemporaries for their creative impulses
and inspiration. I hope that my efforts and
this series, honor their achievements and
serve as a tribute to them. I intend to
continue this project through more research
into each woman’s life and their work to
further communicate their stories through
lectures, print materials and exhibitions.
Coni Minneci 1950-
Slide 21
From Sofonisba Anguissola to Marguerite Thompson Zorach
26 Still Life Paintings using the Pear as a
Metaphor for their work and their lives.
By Coni Minneci
My awareness of the inequities that have historically plagued
the recognition and accomplishments of women artist
compelled me in 2001 to write a paper entitled “ Women in
Art history: A – Z”, as a part of my studies at Empire College.
A few years later, the painting series was begun. These 26
paintings, created over a period of three years, was the result
of my reflection on the notes and other documentation that I
had gathered, and allowing the work and life of each of these
women to influence me and inspire an original still life
painting. Working with subliminal impulses and intuitive
thought, I conceived each work. Some came easily, and others
were perplexing visual challenges.
A woman renowned in her own time as a portrait
artist. I hid her image within this simple
composition as she hid a woman in her self
portrait. Can you find her?
“Self Portrait at the
Clavichord” 1561
Ahhh, Jennifer, stardom at a young age in the art
circles of America. Symphony of visual poetry,
simplified shapes, rhythm and repetition. A star in
the spotlight.
Detail from “Rhapsody” 1975
This outspoken Feminist artist has written seven
books and is exhibited world wide. I did to the
pear what I believe she thinks the history of art
has done to women.
“The Dinner Party” 1979 Five years in
the making, this installation recognizes the
accomplishments of 39 women in history.
Included in this image are fragments from her
early “Cubist Quilt” art, the thread floats within the
painting, representing three segments of her life:
artist-mother-wife.
A scene form the film “Le p’tit Parigot” (1926) with
costumes by Sonia and paintings on the wall by
Robert.
Her talent was hidden until the death of her
famous artist husband, Thomas Eakins. Color is
limited and an unopened flower is a symbol of
her talent waiting to bloom.
“Two Sisters” 1879 oil on canvas
Successful in the times she lived in, an amazing
figurative painter, she challenged me to try to
paint contrasting textures. This small attempt
tries to honor her.
“Portrait of a Noblewomen” 1580 National
Museum of Women in the Arts, Washington D.C.
A Buffalo artist whose work transcends space and
time. Her pear has floating text, and a small
globe, just a peak into Gordon’s world.
“Presenting Evidence” Albright-Knox Art Gallery
2002, a recreation of Gordon’s studio.
A woman who abandoned Abstract Expressionism
to investigate “Painting Art History. My image is
reactionary to her early works regarding
advertisement in America .
“December Second” 1959 Oil on Canvas
48 x 72 in.
NMWA
Responding to her book: “Juchitan de las Mujeres”, I
painted pears reflecting the strong-willed large bodies
women, the matriarchal community in her photoessay, who preserve their culture and traditions.
Juchitan de las Mujeres 1989 A community in
the far south of Mexico, with Zapotec-influences.
The title “Queen Mother” of African American Art was
bestowed upon her by her students & admirers.
Struggles against prejudice and criticism forced her to
have multiple identities as she grew in her art, so too
the pear.
“Ode to Kinshasa” 1972 Mixed Media on canvas
48 x 63 in. NMWA
Experiments with computer technology led Krause and
two women artists to form “Digital Atlelier”, a
printmakers group online. Forcing me to think another
way, the result has the pear open to new methods and
ideas.
Digital Atelier Exhibit , 2005, New Bedford Art
Museum
Little known Dutch painter, her work has often
been confused with Fans Hals. Her amusing
imagery prompted me to have fun with veggies
and her pear. Note: JL not F H!!
“The Concert” ca. 1633 Oil on Canvas NMWA
Working with wood and real found objects , often
including images of herself, Marisol’s work results
in ambiguous ironic , haunting sculptures, thus
this image with my wooden blocks.
“Women and dog” 1964 Wood, plaster, synthetic
polymer, and various media. Whitney museum of
American Art, NYC
Her figurative work has been described as consistent,
serious and an innovative body of work. Responding to
her encouragement, I included fragments of my “Diva”
series with her pear.
“Charlotte Willard” (detail) 1967, “Mary
Shoemaker” (detail) 1965, “Faith Ringgold” (detail)
1977 New Realism/”slyly psychological portraits”
Yes, the wife of Beatle John Lennon did something
else besides help break up the most popular band
in the world. Her pear floats in mystery.
A detail of Yoko Ono’s “Touch me III,”
2008, pre damage. NYC
Little known Irish painter working in oil, with
influences of Degas in some of her work. As she
did I looked to Degas for guidance .
“Trees by the Dodder” Oil on Canvas
Working in paint & collage, she voices concern for
Indian people & the land that was once theirs.
Sadly, I did to the pear what has been done to her
people.
“I See Red: Snowman,” 1992 oil and mixed media
on canvas. Examines American Indian life in
contrast to the consumerism of American society.
With WNY connections, a world collected artist, her
pear reflects the personal expressionism found in
her work.
“Provenance/ Two-Tone” 1975 Acrylic and
tempera on canvas AKG 60 x 113 in. “Seeking to
reconcile a new interest in imagery with the
vocabulary of abstraction…”
One of the founders of Hallwalls, Buffalo, NY, her
“Untitled Film Series” is in MOMA’s collection. Her pear
sits amidst garbage, in response to her Fairytales and
Disasters Series, Garbage is painted with unexpected
results.
Disaster Series: “Untitled #188” 1989
43 ¼ x 65” Cindy is absent from this
garbled image.
Known for her work in geometric forms, collected
world wide, including AKG. Her work inspired a
pear to be cut up and arranged with a particular
sense of design.
“Composition of circles and Semicircles” 1953
Gouache on paper, 10 x 13 ½” NMWA
Photographer of over 3,000 images of people, crafts
and landscapes the Appalachian Mountains, using
archaic large-format cameras. I was prompted to work
slowly, outdoors in limited color.
“Jason Reed” 1933, a chair
maker from North Carolina,
working wood on the shave
horse.
Dedicated to the Surrealist movement in the 1930’s, an
excellent draftswoman,Varo’s work included distorted
perspectives & unexplained narratives. Her pear floats
within a fragment of her work: “The Creation of Birds”.
“Vagabond” 1957 Oil on
Masonite 22 x 10 5/8 in.
Little known British painter of portraits, flowers
and seascapes, her technique reflected
impressionism. Called the best woman artist of
that time. I bowed to paint her pear with flowers.
Portrait: “ The hon. Mrs. Adams”
Circa 1901 oil on canvas
Vienna born figurative painter, Hausner calls her
work, “human landscapes.” My reaction: to paint a
“still life landscape” using fruit to contrast the
faded landscape.
“Lola” hand-painted lithograph
35 ½ x 45 ¼ in.
A successful British photographer, she dressed her
clients as Mythological Creatures and Goddesses.
So, her pear was donned with jewels, befitting
some mysterious subject.
Lady Dorothy Warrender as
“Ceres”, the ancient Italian CornGoddess. These grain mysteries
were enacted by women only.
( 1887-1968) Marguerite and her husband William
were both devoted to bringing Fauvism to America.
Her pear floats in an abstract combing my figurative
work with her landscape. ( she made me do it!)
She and her husband William would paint on both
sides of a canvas, I enlisted my husband Jim to
paint a fragment of her work to honor them, thus
it is shown with a two sided framing.
I am grateful to the artist I referenced and all
women artist- my predecessors and
contemporaries for their creative impulses
and inspiration. I hope that my efforts and
this series, honor their achievements and
serve as a tribute to them. I intend to
continue this project through more research
into each woman’s life and their work to
further communicate their stories through
lectures, print materials and exhibitions.
Coni Minneci 1950-
Slide 22
From Sofonisba Anguissola to Marguerite Thompson Zorach
26 Still Life Paintings using the Pear as a
Metaphor for their work and their lives.
By Coni Minneci
My awareness of the inequities that have historically plagued
the recognition and accomplishments of women artist
compelled me in 2001 to write a paper entitled “ Women in
Art history: A – Z”, as a part of my studies at Empire College.
A few years later, the painting series was begun. These 26
paintings, created over a period of three years, was the result
of my reflection on the notes and other documentation that I
had gathered, and allowing the work and life of each of these
women to influence me and inspire an original still life
painting. Working with subliminal impulses and intuitive
thought, I conceived each work. Some came easily, and others
were perplexing visual challenges.
A woman renowned in her own time as a portrait
artist. I hid her image within this simple
composition as she hid a woman in her self
portrait. Can you find her?
“Self Portrait at the
Clavichord” 1561
Ahhh, Jennifer, stardom at a young age in the art
circles of America. Symphony of visual poetry,
simplified shapes, rhythm and repetition. A star in
the spotlight.
Detail from “Rhapsody” 1975
This outspoken Feminist artist has written seven
books and is exhibited world wide. I did to the
pear what I believe she thinks the history of art
has done to women.
“The Dinner Party” 1979 Five years in
the making, this installation recognizes the
accomplishments of 39 women in history.
Included in this image are fragments from her
early “Cubist Quilt” art, the thread floats within the
painting, representing three segments of her life:
artist-mother-wife.
A scene form the film “Le p’tit Parigot” (1926) with
costumes by Sonia and paintings on the wall by
Robert.
Her talent was hidden until the death of her
famous artist husband, Thomas Eakins. Color is
limited and an unopened flower is a symbol of
her talent waiting to bloom.
“Two Sisters” 1879 oil on canvas
Successful in the times she lived in, an amazing
figurative painter, she challenged me to try to
paint contrasting textures. This small attempt
tries to honor her.
“Portrait of a Noblewomen” 1580 National
Museum of Women in the Arts, Washington D.C.
A Buffalo artist whose work transcends space and
time. Her pear has floating text, and a small
globe, just a peak into Gordon’s world.
“Presenting Evidence” Albright-Knox Art Gallery
2002, a recreation of Gordon’s studio.
A woman who abandoned Abstract Expressionism
to investigate “Painting Art History. My image is
reactionary to her early works regarding
advertisement in America .
“December Second” 1959 Oil on Canvas
48 x 72 in.
NMWA
Responding to her book: “Juchitan de las Mujeres”, I
painted pears reflecting the strong-willed large bodies
women, the matriarchal community in her photoessay, who preserve their culture and traditions.
Juchitan de las Mujeres 1989 A community in
the far south of Mexico, with Zapotec-influences.
The title “Queen Mother” of African American Art was
bestowed upon her by her students & admirers.
Struggles against prejudice and criticism forced her to
have multiple identities as she grew in her art, so too
the pear.
“Ode to Kinshasa” 1972 Mixed Media on canvas
48 x 63 in. NMWA
Experiments with computer technology led Krause and
two women artists to form “Digital Atlelier”, a
printmakers group online. Forcing me to think another
way, the result has the pear open to new methods and
ideas.
Digital Atelier Exhibit , 2005, New Bedford Art
Museum
Little known Dutch painter, her work has often
been confused with Fans Hals. Her amusing
imagery prompted me to have fun with veggies
and her pear. Note: JL not F H!!
“The Concert” ca. 1633 Oil on Canvas NMWA
Working with wood and real found objects , often
including images of herself, Marisol’s work results
in ambiguous ironic , haunting sculptures, thus
this image with my wooden blocks.
“Women and dog” 1964 Wood, plaster, synthetic
polymer, and various media. Whitney museum of
American Art, NYC
Her figurative work has been described as consistent,
serious and an innovative body of work. Responding to
her encouragement, I included fragments of my “Diva”
series with her pear.
“Charlotte Willard” (detail) 1967, “Mary
Shoemaker” (detail) 1965, “Faith Ringgold” (detail)
1977 New Realism/”slyly psychological portraits”
Yes, the wife of Beatle John Lennon did something
else besides help break up the most popular band
in the world. Her pear floats in mystery.
A detail of Yoko Ono’s “Touch me III,”
2008, pre damage. NYC
Little known Irish painter working in oil, with
influences of Degas in some of her work. As she
did I looked to Degas for guidance .
“Trees by the Dodder” Oil on Canvas
Working in paint & collage, she voices concern for
Indian people & the land that was once theirs.
Sadly, I did to the pear what has been done to her
people.
“I See Red: Snowman,” 1992 oil and mixed media
on canvas. Examines American Indian life in
contrast to the consumerism of American society.
With WNY connections, a world collected artist, her
pear reflects the personal expressionism found in
her work.
“Provenance/ Two-Tone” 1975 Acrylic and
tempera on canvas AKG 60 x 113 in. “Seeking to
reconcile a new interest in imagery with the
vocabulary of abstraction…”
One of the founders of Hallwalls, Buffalo, NY, her
“Untitled Film Series” is in MOMA’s collection. Her pear
sits amidst garbage, in response to her Fairytales and
Disasters Series, Garbage is painted with unexpected
results.
Disaster Series: “Untitled #188” 1989
43 ¼ x 65” Cindy is absent from this
garbled image.
Known for her work in geometric forms, collected
world wide, including AKG. Her work inspired a
pear to be cut up and arranged with a particular
sense of design.
“Composition of circles and Semicircles” 1953
Gouache on paper, 10 x 13 ½” NMWA
Photographer of over 3,000 images of people, crafts
and landscapes the Appalachian Mountains, using
archaic large-format cameras. I was prompted to work
slowly, outdoors in limited color.
“Jason Reed” 1933, a chair
maker from North Carolina,
working wood on the shave
horse.
Dedicated to the Surrealist movement in the 1930’s, an
excellent draftswoman,Varo’s work included distorted
perspectives & unexplained narratives. Her pear floats
within a fragment of her work: “The Creation of Birds”.
“Vagabond” 1957 Oil on
Masonite 22 x 10 5/8 in.
Little known British painter of portraits, flowers
and seascapes, her technique reflected
impressionism. Called the best woman artist of
that time. I bowed to paint her pear with flowers.
Portrait: “ The hon. Mrs. Adams”
Circa 1901 oil on canvas
Vienna born figurative painter, Hausner calls her
work, “human landscapes.” My reaction: to paint a
“still life landscape” using fruit to contrast the
faded landscape.
“Lola” hand-painted lithograph
35 ½ x 45 ¼ in.
A successful British photographer, she dressed her
clients as Mythological Creatures and Goddesses.
So, her pear was donned with jewels, befitting
some mysterious subject.
Lady Dorothy Warrender as
“Ceres”, the ancient Italian CornGoddess. These grain mysteries
were enacted by women only.
( 1887-1968) Marguerite and her husband William
were both devoted to bringing Fauvism to America.
Her pear floats in an abstract combing my figurative
work with her landscape. ( she made me do it!)
She and her husband William would paint on both
sides of a canvas, I enlisted my husband Jim to
paint a fragment of her work to honor them, thus
it is shown with a two sided framing.
I am grateful to the artist I referenced and all
women artist- my predecessors and
contemporaries for their creative impulses
and inspiration. I hope that my efforts and
this series, honor their achievements and
serve as a tribute to them. I intend to
continue this project through more research
into each woman’s life and their work to
further communicate their stories through
lectures, print materials and exhibitions.
Coni Minneci 1950-
Slide 23
From Sofonisba Anguissola to Marguerite Thompson Zorach
26 Still Life Paintings using the Pear as a
Metaphor for their work and their lives.
By Coni Minneci
My awareness of the inequities that have historically plagued
the recognition and accomplishments of women artist
compelled me in 2001 to write a paper entitled “ Women in
Art history: A – Z”, as a part of my studies at Empire College.
A few years later, the painting series was begun. These 26
paintings, created over a period of three years, was the result
of my reflection on the notes and other documentation that I
had gathered, and allowing the work and life of each of these
women to influence me and inspire an original still life
painting. Working with subliminal impulses and intuitive
thought, I conceived each work. Some came easily, and others
were perplexing visual challenges.
A woman renowned in her own time as a portrait
artist. I hid her image within this simple
composition as she hid a woman in her self
portrait. Can you find her?
“Self Portrait at the
Clavichord” 1561
Ahhh, Jennifer, stardom at a young age in the art
circles of America. Symphony of visual poetry,
simplified shapes, rhythm and repetition. A star in
the spotlight.
Detail from “Rhapsody” 1975
This outspoken Feminist artist has written seven
books and is exhibited world wide. I did to the
pear what I believe she thinks the history of art
has done to women.
“The Dinner Party” 1979 Five years in
the making, this installation recognizes the
accomplishments of 39 women in history.
Included in this image are fragments from her
early “Cubist Quilt” art, the thread floats within the
painting, representing three segments of her life:
artist-mother-wife.
A scene form the film “Le p’tit Parigot” (1926) with
costumes by Sonia and paintings on the wall by
Robert.
Her talent was hidden until the death of her
famous artist husband, Thomas Eakins. Color is
limited and an unopened flower is a symbol of
her talent waiting to bloom.
“Two Sisters” 1879 oil on canvas
Successful in the times she lived in, an amazing
figurative painter, she challenged me to try to
paint contrasting textures. This small attempt
tries to honor her.
“Portrait of a Noblewomen” 1580 National
Museum of Women in the Arts, Washington D.C.
A Buffalo artist whose work transcends space and
time. Her pear has floating text, and a small
globe, just a peak into Gordon’s world.
“Presenting Evidence” Albright-Knox Art Gallery
2002, a recreation of Gordon’s studio.
A woman who abandoned Abstract Expressionism
to investigate “Painting Art History. My image is
reactionary to her early works regarding
advertisement in America .
“December Second” 1959 Oil on Canvas
48 x 72 in.
NMWA
Responding to her book: “Juchitan de las Mujeres”, I
painted pears reflecting the strong-willed large bodies
women, the matriarchal community in her photoessay, who preserve their culture and traditions.
Juchitan de las Mujeres 1989 A community in
the far south of Mexico, with Zapotec-influences.
The title “Queen Mother” of African American Art was
bestowed upon her by her students & admirers.
Struggles against prejudice and criticism forced her to
have multiple identities as she grew in her art, so too
the pear.
“Ode to Kinshasa” 1972 Mixed Media on canvas
48 x 63 in. NMWA
Experiments with computer technology led Krause and
two women artists to form “Digital Atlelier”, a
printmakers group online. Forcing me to think another
way, the result has the pear open to new methods and
ideas.
Digital Atelier Exhibit , 2005, New Bedford Art
Museum
Little known Dutch painter, her work has often
been confused with Fans Hals. Her amusing
imagery prompted me to have fun with veggies
and her pear. Note: JL not F H!!
“The Concert” ca. 1633 Oil on Canvas NMWA
Working with wood and real found objects , often
including images of herself, Marisol’s work results
in ambiguous ironic , haunting sculptures, thus
this image with my wooden blocks.
“Women and dog” 1964 Wood, plaster, synthetic
polymer, and various media. Whitney museum of
American Art, NYC
Her figurative work has been described as consistent,
serious and an innovative body of work. Responding to
her encouragement, I included fragments of my “Diva”
series with her pear.
“Charlotte Willard” (detail) 1967, “Mary
Shoemaker” (detail) 1965, “Faith Ringgold” (detail)
1977 New Realism/”slyly psychological portraits”
Yes, the wife of Beatle John Lennon did something
else besides help break up the most popular band
in the world. Her pear floats in mystery.
A detail of Yoko Ono’s “Touch me III,”
2008, pre damage. NYC
Little known Irish painter working in oil, with
influences of Degas in some of her work. As she
did I looked to Degas for guidance .
“Trees by the Dodder” Oil on Canvas
Working in paint & collage, she voices concern for
Indian people & the land that was once theirs.
Sadly, I did to the pear what has been done to her
people.
“I See Red: Snowman,” 1992 oil and mixed media
on canvas. Examines American Indian life in
contrast to the consumerism of American society.
With WNY connections, a world collected artist, her
pear reflects the personal expressionism found in
her work.
“Provenance/ Two-Tone” 1975 Acrylic and
tempera on canvas AKG 60 x 113 in. “Seeking to
reconcile a new interest in imagery with the
vocabulary of abstraction…”
One of the founders of Hallwalls, Buffalo, NY, her
“Untitled Film Series” is in MOMA’s collection. Her pear
sits amidst garbage, in response to her Fairytales and
Disasters Series, Garbage is painted with unexpected
results.
Disaster Series: “Untitled #188” 1989
43 ¼ x 65” Cindy is absent from this
garbled image.
Known for her work in geometric forms, collected
world wide, including AKG. Her work inspired a
pear to be cut up and arranged with a particular
sense of design.
“Composition of circles and Semicircles” 1953
Gouache on paper, 10 x 13 ½” NMWA
Photographer of over 3,000 images of people, crafts
and landscapes the Appalachian Mountains, using
archaic large-format cameras. I was prompted to work
slowly, outdoors in limited color.
“Jason Reed” 1933, a chair
maker from North Carolina,
working wood on the shave
horse.
Dedicated to the Surrealist movement in the 1930’s, an
excellent draftswoman,Varo’s work included distorted
perspectives & unexplained narratives. Her pear floats
within a fragment of her work: “The Creation of Birds”.
“Vagabond” 1957 Oil on
Masonite 22 x 10 5/8 in.
Little known British painter of portraits, flowers
and seascapes, her technique reflected
impressionism. Called the best woman artist of
that time. I bowed to paint her pear with flowers.
Portrait: “ The hon. Mrs. Adams”
Circa 1901 oil on canvas
Vienna born figurative painter, Hausner calls her
work, “human landscapes.” My reaction: to paint a
“still life landscape” using fruit to contrast the
faded landscape.
“Lola” hand-painted lithograph
35 ½ x 45 ¼ in.
A successful British photographer, she dressed her
clients as Mythological Creatures and Goddesses.
So, her pear was donned with jewels, befitting
some mysterious subject.
Lady Dorothy Warrender as
“Ceres”, the ancient Italian CornGoddess. These grain mysteries
were enacted by women only.
( 1887-1968) Marguerite and her husband William
were both devoted to bringing Fauvism to America.
Her pear floats in an abstract combing my figurative
work with her landscape. ( she made me do it!)
She and her husband William would paint on both
sides of a canvas, I enlisted my husband Jim to
paint a fragment of her work to honor them, thus
it is shown with a two sided framing.
I am grateful to the artist I referenced and all
women artist- my predecessors and
contemporaries for their creative impulses
and inspiration. I hope that my efforts and
this series, honor their achievements and
serve as a tribute to them. I intend to
continue this project through more research
into each woman’s life and their work to
further communicate their stories through
lectures, print materials and exhibitions.
Coni Minneci 1950-
Slide 24
From Sofonisba Anguissola to Marguerite Thompson Zorach
26 Still Life Paintings using the Pear as a
Metaphor for their work and their lives.
By Coni Minneci
My awareness of the inequities that have historically plagued
the recognition and accomplishments of women artist
compelled me in 2001 to write a paper entitled “ Women in
Art history: A – Z”, as a part of my studies at Empire College.
A few years later, the painting series was begun. These 26
paintings, created over a period of three years, was the result
of my reflection on the notes and other documentation that I
had gathered, and allowing the work and life of each of these
women to influence me and inspire an original still life
painting. Working with subliminal impulses and intuitive
thought, I conceived each work. Some came easily, and others
were perplexing visual challenges.
A woman renowned in her own time as a portrait
artist. I hid her image within this simple
composition as she hid a woman in her self
portrait. Can you find her?
“Self Portrait at the
Clavichord” 1561
Ahhh, Jennifer, stardom at a young age in the art
circles of America. Symphony of visual poetry,
simplified shapes, rhythm and repetition. A star in
the spotlight.
Detail from “Rhapsody” 1975
This outspoken Feminist artist has written seven
books and is exhibited world wide. I did to the
pear what I believe she thinks the history of art
has done to women.
“The Dinner Party” 1979 Five years in
the making, this installation recognizes the
accomplishments of 39 women in history.
Included in this image are fragments from her
early “Cubist Quilt” art, the thread floats within the
painting, representing three segments of her life:
artist-mother-wife.
A scene form the film “Le p’tit Parigot” (1926) with
costumes by Sonia and paintings on the wall by
Robert.
Her talent was hidden until the death of her
famous artist husband, Thomas Eakins. Color is
limited and an unopened flower is a symbol of
her talent waiting to bloom.
“Two Sisters” 1879 oil on canvas
Successful in the times she lived in, an amazing
figurative painter, she challenged me to try to
paint contrasting textures. This small attempt
tries to honor her.
“Portrait of a Noblewomen” 1580 National
Museum of Women in the Arts, Washington D.C.
A Buffalo artist whose work transcends space and
time. Her pear has floating text, and a small
globe, just a peak into Gordon’s world.
“Presenting Evidence” Albright-Knox Art Gallery
2002, a recreation of Gordon’s studio.
A woman who abandoned Abstract Expressionism
to investigate “Painting Art History. My image is
reactionary to her early works regarding
advertisement in America .
“December Second” 1959 Oil on Canvas
48 x 72 in.
NMWA
Responding to her book: “Juchitan de las Mujeres”, I
painted pears reflecting the strong-willed large bodies
women, the matriarchal community in her photoessay, who preserve their culture and traditions.
Juchitan de las Mujeres 1989 A community in
the far south of Mexico, with Zapotec-influences.
The title “Queen Mother” of African American Art was
bestowed upon her by her students & admirers.
Struggles against prejudice and criticism forced her to
have multiple identities as she grew in her art, so too
the pear.
“Ode to Kinshasa” 1972 Mixed Media on canvas
48 x 63 in. NMWA
Experiments with computer technology led Krause and
two women artists to form “Digital Atlelier”, a
printmakers group online. Forcing me to think another
way, the result has the pear open to new methods and
ideas.
Digital Atelier Exhibit , 2005, New Bedford Art
Museum
Little known Dutch painter, her work has often
been confused with Fans Hals. Her amusing
imagery prompted me to have fun with veggies
and her pear. Note: JL not F H!!
“The Concert” ca. 1633 Oil on Canvas NMWA
Working with wood and real found objects , often
including images of herself, Marisol’s work results
in ambiguous ironic , haunting sculptures, thus
this image with my wooden blocks.
“Women and dog” 1964 Wood, plaster, synthetic
polymer, and various media. Whitney museum of
American Art, NYC
Her figurative work has been described as consistent,
serious and an innovative body of work. Responding to
her encouragement, I included fragments of my “Diva”
series with her pear.
“Charlotte Willard” (detail) 1967, “Mary
Shoemaker” (detail) 1965, “Faith Ringgold” (detail)
1977 New Realism/”slyly psychological portraits”
Yes, the wife of Beatle John Lennon did something
else besides help break up the most popular band
in the world. Her pear floats in mystery.
A detail of Yoko Ono’s “Touch me III,”
2008, pre damage. NYC
Little known Irish painter working in oil, with
influences of Degas in some of her work. As she
did I looked to Degas for guidance .
“Trees by the Dodder” Oil on Canvas
Working in paint & collage, she voices concern for
Indian people & the land that was once theirs.
Sadly, I did to the pear what has been done to her
people.
“I See Red: Snowman,” 1992 oil and mixed media
on canvas. Examines American Indian life in
contrast to the consumerism of American society.
With WNY connections, a world collected artist, her
pear reflects the personal expressionism found in
her work.
“Provenance/ Two-Tone” 1975 Acrylic and
tempera on canvas AKG 60 x 113 in. “Seeking to
reconcile a new interest in imagery with the
vocabulary of abstraction…”
One of the founders of Hallwalls, Buffalo, NY, her
“Untitled Film Series” is in MOMA’s collection. Her pear
sits amidst garbage, in response to her Fairytales and
Disasters Series, Garbage is painted with unexpected
results.
Disaster Series: “Untitled #188” 1989
43 ¼ x 65” Cindy is absent from this
garbled image.
Known for her work in geometric forms, collected
world wide, including AKG. Her work inspired a
pear to be cut up and arranged with a particular
sense of design.
“Composition of circles and Semicircles” 1953
Gouache on paper, 10 x 13 ½” NMWA
Photographer of over 3,000 images of people, crafts
and landscapes the Appalachian Mountains, using
archaic large-format cameras. I was prompted to work
slowly, outdoors in limited color.
“Jason Reed” 1933, a chair
maker from North Carolina,
working wood on the shave
horse.
Dedicated to the Surrealist movement in the 1930’s, an
excellent draftswoman,Varo’s work included distorted
perspectives & unexplained narratives. Her pear floats
within a fragment of her work: “The Creation of Birds”.
“Vagabond” 1957 Oil on
Masonite 22 x 10 5/8 in.
Little known British painter of portraits, flowers
and seascapes, her technique reflected
impressionism. Called the best woman artist of
that time. I bowed to paint her pear with flowers.
Portrait: “ The hon. Mrs. Adams”
Circa 1901 oil on canvas
Vienna born figurative painter, Hausner calls her
work, “human landscapes.” My reaction: to paint a
“still life landscape” using fruit to contrast the
faded landscape.
“Lola” hand-painted lithograph
35 ½ x 45 ¼ in.
A successful British photographer, she dressed her
clients as Mythological Creatures and Goddesses.
So, her pear was donned with jewels, befitting
some mysterious subject.
Lady Dorothy Warrender as
“Ceres”, the ancient Italian CornGoddess. These grain mysteries
were enacted by women only.
( 1887-1968) Marguerite and her husband William
were both devoted to bringing Fauvism to America.
Her pear floats in an abstract combing my figurative
work with her landscape. ( she made me do it!)
She and her husband William would paint on both
sides of a canvas, I enlisted my husband Jim to
paint a fragment of her work to honor them, thus
it is shown with a two sided framing.
I am grateful to the artist I referenced and all
women artist- my predecessors and
contemporaries for their creative impulses
and inspiration. I hope that my efforts and
this series, honor their achievements and
serve as a tribute to them. I intend to
continue this project through more research
into each woman’s life and their work to
further communicate their stories through
lectures, print materials and exhibitions.
Coni Minneci 1950-
Slide 25
From Sofonisba Anguissola to Marguerite Thompson Zorach
26 Still Life Paintings using the Pear as a
Metaphor for their work and their lives.
By Coni Minneci
My awareness of the inequities that have historically plagued
the recognition and accomplishments of women artist
compelled me in 2001 to write a paper entitled “ Women in
Art history: A – Z”, as a part of my studies at Empire College.
A few years later, the painting series was begun. These 26
paintings, created over a period of three years, was the result
of my reflection on the notes and other documentation that I
had gathered, and allowing the work and life of each of these
women to influence me and inspire an original still life
painting. Working with subliminal impulses and intuitive
thought, I conceived each work. Some came easily, and others
were perplexing visual challenges.
A woman renowned in her own time as a portrait
artist. I hid her image within this simple
composition as she hid a woman in her self
portrait. Can you find her?
“Self Portrait at the
Clavichord” 1561
Ahhh, Jennifer, stardom at a young age in the art
circles of America. Symphony of visual poetry,
simplified shapes, rhythm and repetition. A star in
the spotlight.
Detail from “Rhapsody” 1975
This outspoken Feminist artist has written seven
books and is exhibited world wide. I did to the
pear what I believe she thinks the history of art
has done to women.
“The Dinner Party” 1979 Five years in
the making, this installation recognizes the
accomplishments of 39 women in history.
Included in this image are fragments from her
early “Cubist Quilt” art, the thread floats within the
painting, representing three segments of her life:
artist-mother-wife.
A scene form the film “Le p’tit Parigot” (1926) with
costumes by Sonia and paintings on the wall by
Robert.
Her talent was hidden until the death of her
famous artist husband, Thomas Eakins. Color is
limited and an unopened flower is a symbol of
her talent waiting to bloom.
“Two Sisters” 1879 oil on canvas
Successful in the times she lived in, an amazing
figurative painter, she challenged me to try to
paint contrasting textures. This small attempt
tries to honor her.
“Portrait of a Noblewomen” 1580 National
Museum of Women in the Arts, Washington D.C.
A Buffalo artist whose work transcends space and
time. Her pear has floating text, and a small
globe, just a peak into Gordon’s world.
“Presenting Evidence” Albright-Knox Art Gallery
2002, a recreation of Gordon’s studio.
A woman who abandoned Abstract Expressionism
to investigate “Painting Art History. My image is
reactionary to her early works regarding
advertisement in America .
“December Second” 1959 Oil on Canvas
48 x 72 in.
NMWA
Responding to her book: “Juchitan de las Mujeres”, I
painted pears reflecting the strong-willed large bodies
women, the matriarchal community in her photoessay, who preserve their culture and traditions.
Juchitan de las Mujeres 1989 A community in
the far south of Mexico, with Zapotec-influences.
The title “Queen Mother” of African American Art was
bestowed upon her by her students & admirers.
Struggles against prejudice and criticism forced her to
have multiple identities as she grew in her art, so too
the pear.
“Ode to Kinshasa” 1972 Mixed Media on canvas
48 x 63 in. NMWA
Experiments with computer technology led Krause and
two women artists to form “Digital Atlelier”, a
printmakers group online. Forcing me to think another
way, the result has the pear open to new methods and
ideas.
Digital Atelier Exhibit , 2005, New Bedford Art
Museum
Little known Dutch painter, her work has often
been confused with Fans Hals. Her amusing
imagery prompted me to have fun with veggies
and her pear. Note: JL not F H!!
“The Concert” ca. 1633 Oil on Canvas NMWA
Working with wood and real found objects , often
including images of herself, Marisol’s work results
in ambiguous ironic , haunting sculptures, thus
this image with my wooden blocks.
“Women and dog” 1964 Wood, plaster, synthetic
polymer, and various media. Whitney museum of
American Art, NYC
Her figurative work has been described as consistent,
serious and an innovative body of work. Responding to
her encouragement, I included fragments of my “Diva”
series with her pear.
“Charlotte Willard” (detail) 1967, “Mary
Shoemaker” (detail) 1965, “Faith Ringgold” (detail)
1977 New Realism/”slyly psychological portraits”
Yes, the wife of Beatle John Lennon did something
else besides help break up the most popular band
in the world. Her pear floats in mystery.
A detail of Yoko Ono’s “Touch me III,”
2008, pre damage. NYC
Little known Irish painter working in oil, with
influences of Degas in some of her work. As she
did I looked to Degas for guidance .
“Trees by the Dodder” Oil on Canvas
Working in paint & collage, she voices concern for
Indian people & the land that was once theirs.
Sadly, I did to the pear what has been done to her
people.
“I See Red: Snowman,” 1992 oil and mixed media
on canvas. Examines American Indian life in
contrast to the consumerism of American society.
With WNY connections, a world collected artist, her
pear reflects the personal expressionism found in
her work.
“Provenance/ Two-Tone” 1975 Acrylic and
tempera on canvas AKG 60 x 113 in. “Seeking to
reconcile a new interest in imagery with the
vocabulary of abstraction…”
One of the founders of Hallwalls, Buffalo, NY, her
“Untitled Film Series” is in MOMA’s collection. Her pear
sits amidst garbage, in response to her Fairytales and
Disasters Series, Garbage is painted with unexpected
results.
Disaster Series: “Untitled #188” 1989
43 ¼ x 65” Cindy is absent from this
garbled image.
Known for her work in geometric forms, collected
world wide, including AKG. Her work inspired a
pear to be cut up and arranged with a particular
sense of design.
“Composition of circles and Semicircles” 1953
Gouache on paper, 10 x 13 ½” NMWA
Photographer of over 3,000 images of people, crafts
and landscapes the Appalachian Mountains, using
archaic large-format cameras. I was prompted to work
slowly, outdoors in limited color.
“Jason Reed” 1933, a chair
maker from North Carolina,
working wood on the shave
horse.
Dedicated to the Surrealist movement in the 1930’s, an
excellent draftswoman,Varo’s work included distorted
perspectives & unexplained narratives. Her pear floats
within a fragment of her work: “The Creation of Birds”.
“Vagabond” 1957 Oil on
Masonite 22 x 10 5/8 in.
Little known British painter of portraits, flowers
and seascapes, her technique reflected
impressionism. Called the best woman artist of
that time. I bowed to paint her pear with flowers.
Portrait: “ The hon. Mrs. Adams”
Circa 1901 oil on canvas
Vienna born figurative painter, Hausner calls her
work, “human landscapes.” My reaction: to paint a
“still life landscape” using fruit to contrast the
faded landscape.
“Lola” hand-painted lithograph
35 ½ x 45 ¼ in.
A successful British photographer, she dressed her
clients as Mythological Creatures and Goddesses.
So, her pear was donned with jewels, befitting
some mysterious subject.
Lady Dorothy Warrender as
“Ceres”, the ancient Italian CornGoddess. These grain mysteries
were enacted by women only.
( 1887-1968) Marguerite and her husband William
were both devoted to bringing Fauvism to America.
Her pear floats in an abstract combing my figurative
work with her landscape. ( she made me do it!)
She and her husband William would paint on both
sides of a canvas, I enlisted my husband Jim to
paint a fragment of her work to honor them, thus
it is shown with a two sided framing.
I am grateful to the artist I referenced and all
women artist- my predecessors and
contemporaries for their creative impulses
and inspiration. I hope that my efforts and
this series, honor their achievements and
serve as a tribute to them. I intend to
continue this project through more research
into each woman’s life and their work to
further communicate their stories through
lectures, print materials and exhibitions.
Coni Minneci 1950-
Slide 26
From Sofonisba Anguissola to Marguerite Thompson Zorach
26 Still Life Paintings using the Pear as a
Metaphor for their work and their lives.
By Coni Minneci
My awareness of the inequities that have historically plagued
the recognition and accomplishments of women artist
compelled me in 2001 to write a paper entitled “ Women in
Art history: A – Z”, as a part of my studies at Empire College.
A few years later, the painting series was begun. These 26
paintings, created over a period of three years, was the result
of my reflection on the notes and other documentation that I
had gathered, and allowing the work and life of each of these
women to influence me and inspire an original still life
painting. Working with subliminal impulses and intuitive
thought, I conceived each work. Some came easily, and others
were perplexing visual challenges.
A woman renowned in her own time as a portrait
artist. I hid her image within this simple
composition as she hid a woman in her self
portrait. Can you find her?
“Self Portrait at the
Clavichord” 1561
Ahhh, Jennifer, stardom at a young age in the art
circles of America. Symphony of visual poetry,
simplified shapes, rhythm and repetition. A star in
the spotlight.
Detail from “Rhapsody” 1975
This outspoken Feminist artist has written seven
books and is exhibited world wide. I did to the
pear what I believe she thinks the history of art
has done to women.
“The Dinner Party” 1979 Five years in
the making, this installation recognizes the
accomplishments of 39 women in history.
Included in this image are fragments from her
early “Cubist Quilt” art, the thread floats within the
painting, representing three segments of her life:
artist-mother-wife.
A scene form the film “Le p’tit Parigot” (1926) with
costumes by Sonia and paintings on the wall by
Robert.
Her talent was hidden until the death of her
famous artist husband, Thomas Eakins. Color is
limited and an unopened flower is a symbol of
her talent waiting to bloom.
“Two Sisters” 1879 oil on canvas
Successful in the times she lived in, an amazing
figurative painter, she challenged me to try to
paint contrasting textures. This small attempt
tries to honor her.
“Portrait of a Noblewomen” 1580 National
Museum of Women in the Arts, Washington D.C.
A Buffalo artist whose work transcends space and
time. Her pear has floating text, and a small
globe, just a peak into Gordon’s world.
“Presenting Evidence” Albright-Knox Art Gallery
2002, a recreation of Gordon’s studio.
A woman who abandoned Abstract Expressionism
to investigate “Painting Art History. My image is
reactionary to her early works regarding
advertisement in America .
“December Second” 1959 Oil on Canvas
48 x 72 in.
NMWA
Responding to her book: “Juchitan de las Mujeres”, I
painted pears reflecting the strong-willed large bodies
women, the matriarchal community in her photoessay, who preserve their culture and traditions.
Juchitan de las Mujeres 1989 A community in
the far south of Mexico, with Zapotec-influences.
The title “Queen Mother” of African American Art was
bestowed upon her by her students & admirers.
Struggles against prejudice and criticism forced her to
have multiple identities as she grew in her art, so too
the pear.
“Ode to Kinshasa” 1972 Mixed Media on canvas
48 x 63 in. NMWA
Experiments with computer technology led Krause and
two women artists to form “Digital Atlelier”, a
printmakers group online. Forcing me to think another
way, the result has the pear open to new methods and
ideas.
Digital Atelier Exhibit , 2005, New Bedford Art
Museum
Little known Dutch painter, her work has often
been confused with Fans Hals. Her amusing
imagery prompted me to have fun with veggies
and her pear. Note: JL not F H!!
“The Concert” ca. 1633 Oil on Canvas NMWA
Working with wood and real found objects , often
including images of herself, Marisol’s work results
in ambiguous ironic , haunting sculptures, thus
this image with my wooden blocks.
“Women and dog” 1964 Wood, plaster, synthetic
polymer, and various media. Whitney museum of
American Art, NYC
Her figurative work has been described as consistent,
serious and an innovative body of work. Responding to
her encouragement, I included fragments of my “Diva”
series with her pear.
“Charlotte Willard” (detail) 1967, “Mary
Shoemaker” (detail) 1965, “Faith Ringgold” (detail)
1977 New Realism/”slyly psychological portraits”
Yes, the wife of Beatle John Lennon did something
else besides help break up the most popular band
in the world. Her pear floats in mystery.
A detail of Yoko Ono’s “Touch me III,”
2008, pre damage. NYC
Little known Irish painter working in oil, with
influences of Degas in some of her work. As she
did I looked to Degas for guidance .
“Trees by the Dodder” Oil on Canvas
Working in paint & collage, she voices concern for
Indian people & the land that was once theirs.
Sadly, I did to the pear what has been done to her
people.
“I See Red: Snowman,” 1992 oil and mixed media
on canvas. Examines American Indian life in
contrast to the consumerism of American society.
With WNY connections, a world collected artist, her
pear reflects the personal expressionism found in
her work.
“Provenance/ Two-Tone” 1975 Acrylic and
tempera on canvas AKG 60 x 113 in. “Seeking to
reconcile a new interest in imagery with the
vocabulary of abstraction…”
One of the founders of Hallwalls, Buffalo, NY, her
“Untitled Film Series” is in MOMA’s collection. Her pear
sits amidst garbage, in response to her Fairytales and
Disasters Series, Garbage is painted with unexpected
results.
Disaster Series: “Untitled #188” 1989
43 ¼ x 65” Cindy is absent from this
garbled image.
Known for her work in geometric forms, collected
world wide, including AKG. Her work inspired a
pear to be cut up and arranged with a particular
sense of design.
“Composition of circles and Semicircles” 1953
Gouache on paper, 10 x 13 ½” NMWA
Photographer of over 3,000 images of people, crafts
and landscapes the Appalachian Mountains, using
archaic large-format cameras. I was prompted to work
slowly, outdoors in limited color.
“Jason Reed” 1933, a chair
maker from North Carolina,
working wood on the shave
horse.
Dedicated to the Surrealist movement in the 1930’s, an
excellent draftswoman,Varo’s work included distorted
perspectives & unexplained narratives. Her pear floats
within a fragment of her work: “The Creation of Birds”.
“Vagabond” 1957 Oil on
Masonite 22 x 10 5/8 in.
Little known British painter of portraits, flowers
and seascapes, her technique reflected
impressionism. Called the best woman artist of
that time. I bowed to paint her pear with flowers.
Portrait: “ The hon. Mrs. Adams”
Circa 1901 oil on canvas
Vienna born figurative painter, Hausner calls her
work, “human landscapes.” My reaction: to paint a
“still life landscape” using fruit to contrast the
faded landscape.
“Lola” hand-painted lithograph
35 ½ x 45 ¼ in.
A successful British photographer, she dressed her
clients as Mythological Creatures and Goddesses.
So, her pear was donned with jewels, befitting
some mysterious subject.
Lady Dorothy Warrender as
“Ceres”, the ancient Italian CornGoddess. These grain mysteries
were enacted by women only.
( 1887-1968) Marguerite and her husband William
were both devoted to bringing Fauvism to America.
Her pear floats in an abstract combing my figurative
work with her landscape. ( she made me do it!)
She and her husband William would paint on both
sides of a canvas, I enlisted my husband Jim to
paint a fragment of her work to honor them, thus
it is shown with a two sided framing.
I am grateful to the artist I referenced and all
women artist- my predecessors and
contemporaries for their creative impulses
and inspiration. I hope that my efforts and
this series, honor their achievements and
serve as a tribute to them. I intend to
continue this project through more research
into each woman’s life and their work to
further communicate their stories through
lectures, print materials and exhibitions.
Coni Minneci 1950-
Slide 27
From Sofonisba Anguissola to Marguerite Thompson Zorach
26 Still Life Paintings using the Pear as a
Metaphor for their work and their lives.
By Coni Minneci
My awareness of the inequities that have historically plagued
the recognition and accomplishments of women artist
compelled me in 2001 to write a paper entitled “ Women in
Art history: A – Z”, as a part of my studies at Empire College.
A few years later, the painting series was begun. These 26
paintings, created over a period of three years, was the result
of my reflection on the notes and other documentation that I
had gathered, and allowing the work and life of each of these
women to influence me and inspire an original still life
painting. Working with subliminal impulses and intuitive
thought, I conceived each work. Some came easily, and others
were perplexing visual challenges.
A woman renowned in her own time as a portrait
artist. I hid her image within this simple
composition as she hid a woman in her self
portrait. Can you find her?
“Self Portrait at the
Clavichord” 1561
Ahhh, Jennifer, stardom at a young age in the art
circles of America. Symphony of visual poetry,
simplified shapes, rhythm and repetition. A star in
the spotlight.
Detail from “Rhapsody” 1975
This outspoken Feminist artist has written seven
books and is exhibited world wide. I did to the
pear what I believe she thinks the history of art
has done to women.
“The Dinner Party” 1979 Five years in
the making, this installation recognizes the
accomplishments of 39 women in history.
Included in this image are fragments from her
early “Cubist Quilt” art, the thread floats within the
painting, representing three segments of her life:
artist-mother-wife.
A scene form the film “Le p’tit Parigot” (1926) with
costumes by Sonia and paintings on the wall by
Robert.
Her talent was hidden until the death of her
famous artist husband, Thomas Eakins. Color is
limited and an unopened flower is a symbol of
her talent waiting to bloom.
“Two Sisters” 1879 oil on canvas
Successful in the times she lived in, an amazing
figurative painter, she challenged me to try to
paint contrasting textures. This small attempt
tries to honor her.
“Portrait of a Noblewomen” 1580 National
Museum of Women in the Arts, Washington D.C.
A Buffalo artist whose work transcends space and
time. Her pear has floating text, and a small
globe, just a peak into Gordon’s world.
“Presenting Evidence” Albright-Knox Art Gallery
2002, a recreation of Gordon’s studio.
A woman who abandoned Abstract Expressionism
to investigate “Painting Art History. My image is
reactionary to her early works regarding
advertisement in America .
“December Second” 1959 Oil on Canvas
48 x 72 in.
NMWA
Responding to her book: “Juchitan de las Mujeres”, I
painted pears reflecting the strong-willed large bodies
women, the matriarchal community in her photoessay, who preserve their culture and traditions.
Juchitan de las Mujeres 1989 A community in
the far south of Mexico, with Zapotec-influences.
The title “Queen Mother” of African American Art was
bestowed upon her by her students & admirers.
Struggles against prejudice and criticism forced her to
have multiple identities as she grew in her art, so too
the pear.
“Ode to Kinshasa” 1972 Mixed Media on canvas
48 x 63 in. NMWA
Experiments with computer technology led Krause and
two women artists to form “Digital Atlelier”, a
printmakers group online. Forcing me to think another
way, the result has the pear open to new methods and
ideas.
Digital Atelier Exhibit , 2005, New Bedford Art
Museum
Little known Dutch painter, her work has often
been confused with Fans Hals. Her amusing
imagery prompted me to have fun with veggies
and her pear. Note: JL not F H!!
“The Concert” ca. 1633 Oil on Canvas NMWA
Working with wood and real found objects , often
including images of herself, Marisol’s work results
in ambiguous ironic , haunting sculptures, thus
this image with my wooden blocks.
“Women and dog” 1964 Wood, plaster, synthetic
polymer, and various media. Whitney museum of
American Art, NYC
Her figurative work has been described as consistent,
serious and an innovative body of work. Responding to
her encouragement, I included fragments of my “Diva”
series with her pear.
“Charlotte Willard” (detail) 1967, “Mary
Shoemaker” (detail) 1965, “Faith Ringgold” (detail)
1977 New Realism/”slyly psychological portraits”
Yes, the wife of Beatle John Lennon did something
else besides help break up the most popular band
in the world. Her pear floats in mystery.
A detail of Yoko Ono’s “Touch me III,”
2008, pre damage. NYC
Little known Irish painter working in oil, with
influences of Degas in some of her work. As she
did I looked to Degas for guidance .
“Trees by the Dodder” Oil on Canvas
Working in paint & collage, she voices concern for
Indian people & the land that was once theirs.
Sadly, I did to the pear what has been done to her
people.
“I See Red: Snowman,” 1992 oil and mixed media
on canvas. Examines American Indian life in
contrast to the consumerism of American society.
With WNY connections, a world collected artist, her
pear reflects the personal expressionism found in
her work.
“Provenance/ Two-Tone” 1975 Acrylic and
tempera on canvas AKG 60 x 113 in. “Seeking to
reconcile a new interest in imagery with the
vocabulary of abstraction…”
One of the founders of Hallwalls, Buffalo, NY, her
“Untitled Film Series” is in MOMA’s collection. Her pear
sits amidst garbage, in response to her Fairytales and
Disasters Series, Garbage is painted with unexpected
results.
Disaster Series: “Untitled #188” 1989
43 ¼ x 65” Cindy is absent from this
garbled image.
Known for her work in geometric forms, collected
world wide, including AKG. Her work inspired a
pear to be cut up and arranged with a particular
sense of design.
“Composition of circles and Semicircles” 1953
Gouache on paper, 10 x 13 ½” NMWA
Photographer of over 3,000 images of people, crafts
and landscapes the Appalachian Mountains, using
archaic large-format cameras. I was prompted to work
slowly, outdoors in limited color.
“Jason Reed” 1933, a chair
maker from North Carolina,
working wood on the shave
horse.
Dedicated to the Surrealist movement in the 1930’s, an
excellent draftswoman,Varo’s work included distorted
perspectives & unexplained narratives. Her pear floats
within a fragment of her work: “The Creation of Birds”.
“Vagabond” 1957 Oil on
Masonite 22 x 10 5/8 in.
Little known British painter of portraits, flowers
and seascapes, her technique reflected
impressionism. Called the best woman artist of
that time. I bowed to paint her pear with flowers.
Portrait: “ The hon. Mrs. Adams”
Circa 1901 oil on canvas
Vienna born figurative painter, Hausner calls her
work, “human landscapes.” My reaction: to paint a
“still life landscape” using fruit to contrast the
faded landscape.
“Lola” hand-painted lithograph
35 ½ x 45 ¼ in.
A successful British photographer, she dressed her
clients as Mythological Creatures and Goddesses.
So, her pear was donned with jewels, befitting
some mysterious subject.
Lady Dorothy Warrender as
“Ceres”, the ancient Italian CornGoddess. These grain mysteries
were enacted by women only.
( 1887-1968) Marguerite and her husband William
were both devoted to bringing Fauvism to America.
Her pear floats in an abstract combing my figurative
work with her landscape. ( she made me do it!)
She and her husband William would paint on both
sides of a canvas, I enlisted my husband Jim to
paint a fragment of her work to honor them, thus
it is shown with a two sided framing.
I am grateful to the artist I referenced and all
women artist- my predecessors and
contemporaries for their creative impulses
and inspiration. I hope that my efforts and
this series, honor their achievements and
serve as a tribute to them. I intend to
continue this project through more research
into each woman’s life and their work to
further communicate their stories through
lectures, print materials and exhibitions.
Coni Minneci 1950-
Slide 28
From Sofonisba Anguissola to Marguerite Thompson Zorach
26 Still Life Paintings using the Pear as a
Metaphor for their work and their lives.
By Coni Minneci
My awareness of the inequities that have historically plagued
the recognition and accomplishments of women artist
compelled me in 2001 to write a paper entitled “ Women in
Art history: A – Z”, as a part of my studies at Empire College.
A few years later, the painting series was begun. These 26
paintings, created over a period of three years, was the result
of my reflection on the notes and other documentation that I
had gathered, and allowing the work and life of each of these
women to influence me and inspire an original still life
painting. Working with subliminal impulses and intuitive
thought, I conceived each work. Some came easily, and others
were perplexing visual challenges.
A woman renowned in her own time as a portrait
artist. I hid her image within this simple
composition as she hid a woman in her self
portrait. Can you find her?
“Self Portrait at the
Clavichord” 1561
Ahhh, Jennifer, stardom at a young age in the art
circles of America. Symphony of visual poetry,
simplified shapes, rhythm and repetition. A star in
the spotlight.
Detail from “Rhapsody” 1975
This outspoken Feminist artist has written seven
books and is exhibited world wide. I did to the
pear what I believe she thinks the history of art
has done to women.
“The Dinner Party” 1979 Five years in
the making, this installation recognizes the
accomplishments of 39 women in history.
Included in this image are fragments from her
early “Cubist Quilt” art, the thread floats within the
painting, representing three segments of her life:
artist-mother-wife.
A scene form the film “Le p’tit Parigot” (1926) with
costumes by Sonia and paintings on the wall by
Robert.
Her talent was hidden until the death of her
famous artist husband, Thomas Eakins. Color is
limited and an unopened flower is a symbol of
her talent waiting to bloom.
“Two Sisters” 1879 oil on canvas
Successful in the times she lived in, an amazing
figurative painter, she challenged me to try to
paint contrasting textures. This small attempt
tries to honor her.
“Portrait of a Noblewomen” 1580 National
Museum of Women in the Arts, Washington D.C.
A Buffalo artist whose work transcends space and
time. Her pear has floating text, and a small
globe, just a peak into Gordon’s world.
“Presenting Evidence” Albright-Knox Art Gallery
2002, a recreation of Gordon’s studio.
A woman who abandoned Abstract Expressionism
to investigate “Painting Art History. My image is
reactionary to her early works regarding
advertisement in America .
“December Second” 1959 Oil on Canvas
48 x 72 in.
NMWA
Responding to her book: “Juchitan de las Mujeres”, I
painted pears reflecting the strong-willed large bodies
women, the matriarchal community in her photoessay, who preserve their culture and traditions.
Juchitan de las Mujeres 1989 A community in
the far south of Mexico, with Zapotec-influences.
The title “Queen Mother” of African American Art was
bestowed upon her by her students & admirers.
Struggles against prejudice and criticism forced her to
have multiple identities as she grew in her art, so too
the pear.
“Ode to Kinshasa” 1972 Mixed Media on canvas
48 x 63 in. NMWA
Experiments with computer technology led Krause and
two women artists to form “Digital Atlelier”, a
printmakers group online. Forcing me to think another
way, the result has the pear open to new methods and
ideas.
Digital Atelier Exhibit , 2005, New Bedford Art
Museum
Little known Dutch painter, her work has often
been confused with Fans Hals. Her amusing
imagery prompted me to have fun with veggies
and her pear. Note: JL not F H!!
“The Concert” ca. 1633 Oil on Canvas NMWA
Working with wood and real found objects , often
including images of herself, Marisol’s work results
in ambiguous ironic , haunting sculptures, thus
this image with my wooden blocks.
“Women and dog” 1964 Wood, plaster, synthetic
polymer, and various media. Whitney museum of
American Art, NYC
Her figurative work has been described as consistent,
serious and an innovative body of work. Responding to
her encouragement, I included fragments of my “Diva”
series with her pear.
“Charlotte Willard” (detail) 1967, “Mary
Shoemaker” (detail) 1965, “Faith Ringgold” (detail)
1977 New Realism/”slyly psychological portraits”
Yes, the wife of Beatle John Lennon did something
else besides help break up the most popular band
in the world. Her pear floats in mystery.
A detail of Yoko Ono’s “Touch me III,”
2008, pre damage. NYC
Little known Irish painter working in oil, with
influences of Degas in some of her work. As she
did I looked to Degas for guidance .
“Trees by the Dodder” Oil on Canvas
Working in paint & collage, she voices concern for
Indian people & the land that was once theirs.
Sadly, I did to the pear what has been done to her
people.
“I See Red: Snowman,” 1992 oil and mixed media
on canvas. Examines American Indian life in
contrast to the consumerism of American society.
With WNY connections, a world collected artist, her
pear reflects the personal expressionism found in
her work.
“Provenance/ Two-Tone” 1975 Acrylic and
tempera on canvas AKG 60 x 113 in. “Seeking to
reconcile a new interest in imagery with the
vocabulary of abstraction…”
One of the founders of Hallwalls, Buffalo, NY, her
“Untitled Film Series” is in MOMA’s collection. Her pear
sits amidst garbage, in response to her Fairytales and
Disasters Series, Garbage is painted with unexpected
results.
Disaster Series: “Untitled #188” 1989
43 ¼ x 65” Cindy is absent from this
garbled image.
Known for her work in geometric forms, collected
world wide, including AKG. Her work inspired a
pear to be cut up and arranged with a particular
sense of design.
“Composition of circles and Semicircles” 1953
Gouache on paper, 10 x 13 ½” NMWA
Photographer of over 3,000 images of people, crafts
and landscapes the Appalachian Mountains, using
archaic large-format cameras. I was prompted to work
slowly, outdoors in limited color.
“Jason Reed” 1933, a chair
maker from North Carolina,
working wood on the shave
horse.
Dedicated to the Surrealist movement in the 1930’s, an
excellent draftswoman,Varo’s work included distorted
perspectives & unexplained narratives. Her pear floats
within a fragment of her work: “The Creation of Birds”.
“Vagabond” 1957 Oil on
Masonite 22 x 10 5/8 in.
Little known British painter of portraits, flowers
and seascapes, her technique reflected
impressionism. Called the best woman artist of
that time. I bowed to paint her pear with flowers.
Portrait: “ The hon. Mrs. Adams”
Circa 1901 oil on canvas
Vienna born figurative painter, Hausner calls her
work, “human landscapes.” My reaction: to paint a
“still life landscape” using fruit to contrast the
faded landscape.
“Lola” hand-painted lithograph
35 ½ x 45 ¼ in.
A successful British photographer, she dressed her
clients as Mythological Creatures and Goddesses.
So, her pear was donned with jewels, befitting
some mysterious subject.
Lady Dorothy Warrender as
“Ceres”, the ancient Italian CornGoddess. These grain mysteries
were enacted by women only.
( 1887-1968) Marguerite and her husband William
were both devoted to bringing Fauvism to America.
Her pear floats in an abstract combing my figurative
work with her landscape. ( she made me do it!)
She and her husband William would paint on both
sides of a canvas, I enlisted my husband Jim to
paint a fragment of her work to honor them, thus
it is shown with a two sided framing.
I am grateful to the artist I referenced and all
women artist- my predecessors and
contemporaries for their creative impulses
and inspiration. I hope that my efforts and
this series, honor their achievements and
serve as a tribute to them. I intend to
continue this project through more research
into each woman’s life and their work to
further communicate their stories through
lectures, print materials and exhibitions.
Coni Minneci 1950-
Slide 29
From Sofonisba Anguissola to Marguerite Thompson Zorach
26 Still Life Paintings using the Pear as a
Metaphor for their work and their lives.
By Coni Minneci
My awareness of the inequities that have historically plagued
the recognition and accomplishments of women artist
compelled me in 2001 to write a paper entitled “ Women in
Art history: A – Z”, as a part of my studies at Empire College.
A few years later, the painting series was begun. These 26
paintings, created over a period of three years, was the result
of my reflection on the notes and other documentation that I
had gathered, and allowing the work and life of each of these
women to influence me and inspire an original still life
painting. Working with subliminal impulses and intuitive
thought, I conceived each work. Some came easily, and others
were perplexing visual challenges.
A woman renowned in her own time as a portrait
artist. I hid her image within this simple
composition as she hid a woman in her self
portrait. Can you find her?
“Self Portrait at the
Clavichord” 1561
Ahhh, Jennifer, stardom at a young age in the art
circles of America. Symphony of visual poetry,
simplified shapes, rhythm and repetition. A star in
the spotlight.
Detail from “Rhapsody” 1975
This outspoken Feminist artist has written seven
books and is exhibited world wide. I did to the
pear what I believe she thinks the history of art
has done to women.
“The Dinner Party” 1979 Five years in
the making, this installation recognizes the
accomplishments of 39 women in history.
Included in this image are fragments from her
early “Cubist Quilt” art, the thread floats within the
painting, representing three segments of her life:
artist-mother-wife.
A scene form the film “Le p’tit Parigot” (1926) with
costumes by Sonia and paintings on the wall by
Robert.
Her talent was hidden until the death of her
famous artist husband, Thomas Eakins. Color is
limited and an unopened flower is a symbol of
her talent waiting to bloom.
“Two Sisters” 1879 oil on canvas
Successful in the times she lived in, an amazing
figurative painter, she challenged me to try to
paint contrasting textures. This small attempt
tries to honor her.
“Portrait of a Noblewomen” 1580 National
Museum of Women in the Arts, Washington D.C.
A Buffalo artist whose work transcends space and
time. Her pear has floating text, and a small
globe, just a peak into Gordon’s world.
“Presenting Evidence” Albright-Knox Art Gallery
2002, a recreation of Gordon’s studio.
A woman who abandoned Abstract Expressionism
to investigate “Painting Art History. My image is
reactionary to her early works regarding
advertisement in America .
“December Second” 1959 Oil on Canvas
48 x 72 in.
NMWA
Responding to her book: “Juchitan de las Mujeres”, I
painted pears reflecting the strong-willed large bodies
women, the matriarchal community in her photoessay, who preserve their culture and traditions.
Juchitan de las Mujeres 1989 A community in
the far south of Mexico, with Zapotec-influences.
The title “Queen Mother” of African American Art was
bestowed upon her by her students & admirers.
Struggles against prejudice and criticism forced her to
have multiple identities as she grew in her art, so too
the pear.
“Ode to Kinshasa” 1972 Mixed Media on canvas
48 x 63 in. NMWA
Experiments with computer technology led Krause and
two women artists to form “Digital Atlelier”, a
printmakers group online. Forcing me to think another
way, the result has the pear open to new methods and
ideas.
Digital Atelier Exhibit , 2005, New Bedford Art
Museum
Little known Dutch painter, her work has often
been confused with Fans Hals. Her amusing
imagery prompted me to have fun with veggies
and her pear. Note: JL not F H!!
“The Concert” ca. 1633 Oil on Canvas NMWA
Working with wood and real found objects , often
including images of herself, Marisol’s work results
in ambiguous ironic , haunting sculptures, thus
this image with my wooden blocks.
“Women and dog” 1964 Wood, plaster, synthetic
polymer, and various media. Whitney museum of
American Art, NYC
Her figurative work has been described as consistent,
serious and an innovative body of work. Responding to
her encouragement, I included fragments of my “Diva”
series with her pear.
“Charlotte Willard” (detail) 1967, “Mary
Shoemaker” (detail) 1965, “Faith Ringgold” (detail)
1977 New Realism/”slyly psychological portraits”
Yes, the wife of Beatle John Lennon did something
else besides help break up the most popular band
in the world. Her pear floats in mystery.
A detail of Yoko Ono’s “Touch me III,”
2008, pre damage. NYC
Little known Irish painter working in oil, with
influences of Degas in some of her work. As she
did I looked to Degas for guidance .
“Trees by the Dodder” Oil on Canvas
Working in paint & collage, she voices concern for
Indian people & the land that was once theirs.
Sadly, I did to the pear what has been done to her
people.
“I See Red: Snowman,” 1992 oil and mixed media
on canvas. Examines American Indian life in
contrast to the consumerism of American society.
With WNY connections, a world collected artist, her
pear reflects the personal expressionism found in
her work.
“Provenance/ Two-Tone” 1975 Acrylic and
tempera on canvas AKG 60 x 113 in. “Seeking to
reconcile a new interest in imagery with the
vocabulary of abstraction…”
One of the founders of Hallwalls, Buffalo, NY, her
“Untitled Film Series” is in MOMA’s collection. Her pear
sits amidst garbage, in response to her Fairytales and
Disasters Series, Garbage is painted with unexpected
results.
Disaster Series: “Untitled #188” 1989
43 ¼ x 65” Cindy is absent from this
garbled image.
Known for her work in geometric forms, collected
world wide, including AKG. Her work inspired a
pear to be cut up and arranged with a particular
sense of design.
“Composition of circles and Semicircles” 1953
Gouache on paper, 10 x 13 ½” NMWA
Photographer of over 3,000 images of people, crafts
and landscapes the Appalachian Mountains, using
archaic large-format cameras. I was prompted to work
slowly, outdoors in limited color.
“Jason Reed” 1933, a chair
maker from North Carolina,
working wood on the shave
horse.
Dedicated to the Surrealist movement in the 1930’s, an
excellent draftswoman,Varo’s work included distorted
perspectives & unexplained narratives. Her pear floats
within a fragment of her work: “The Creation of Birds”.
“Vagabond” 1957 Oil on
Masonite 22 x 10 5/8 in.
Little known British painter of portraits, flowers
and seascapes, her technique reflected
impressionism. Called the best woman artist of
that time. I bowed to paint her pear with flowers.
Portrait: “ The hon. Mrs. Adams”
Circa 1901 oil on canvas
Vienna born figurative painter, Hausner calls her
work, “human landscapes.” My reaction: to paint a
“still life landscape” using fruit to contrast the
faded landscape.
“Lola” hand-painted lithograph
35 ½ x 45 ¼ in.
A successful British photographer, she dressed her
clients as Mythological Creatures and Goddesses.
So, her pear was donned with jewels, befitting
some mysterious subject.
Lady Dorothy Warrender as
“Ceres”, the ancient Italian CornGoddess. These grain mysteries
were enacted by women only.
( 1887-1968) Marguerite and her husband William
were both devoted to bringing Fauvism to America.
Her pear floats in an abstract combing my figurative
work with her landscape. ( she made me do it!)
She and her husband William would paint on both
sides of a canvas, I enlisted my husband Jim to
paint a fragment of her work to honor them, thus
it is shown with a two sided framing.
I am grateful to the artist I referenced and all
women artist- my predecessors and
contemporaries for their creative impulses
and inspiration. I hope that my efforts and
this series, honor their achievements and
serve as a tribute to them. I intend to
continue this project through more research
into each woman’s life and their work to
further communicate their stories through
lectures, print materials and exhibitions.
Coni Minneci 1950-
From Sofonisba Anguissola to Marguerite Thompson Zorach
26 Still Life Paintings using the Pear as a
Metaphor for their work and their lives.
By Coni Minneci
My awareness of the inequities that have historically plagued
the recognition and accomplishments of women artist
compelled me in 2001 to write a paper entitled “ Women in
Art history: A – Z”, as a part of my studies at Empire College.
A few years later, the painting series was begun. These 26
paintings, created over a period of three years, was the result
of my reflection on the notes and other documentation that I
had gathered, and allowing the work and life of each of these
women to influence me and inspire an original still life
painting. Working with subliminal impulses and intuitive
thought, I conceived each work. Some came easily, and others
were perplexing visual challenges.
A woman renowned in her own time as a portrait
artist. I hid her image within this simple
composition as she hid a woman in her self
portrait. Can you find her?
“Self Portrait at the
Clavichord” 1561
Ahhh, Jennifer, stardom at a young age in the art
circles of America. Symphony of visual poetry,
simplified shapes, rhythm and repetition. A star in
the spotlight.
Detail from “Rhapsody” 1975
This outspoken Feminist artist has written seven
books and is exhibited world wide. I did to the
pear what I believe she thinks the history of art
has done to women.
“The Dinner Party” 1979 Five years in
the making, this installation recognizes the
accomplishments of 39 women in history.
Included in this image are fragments from her
early “Cubist Quilt” art, the thread floats within the
painting, representing three segments of her life:
artist-mother-wife.
A scene form the film “Le p’tit Parigot” (1926) with
costumes by Sonia and paintings on the wall by
Robert.
Her talent was hidden until the death of her
famous artist husband, Thomas Eakins. Color is
limited and an unopened flower is a symbol of
her talent waiting to bloom.
“Two Sisters” 1879 oil on canvas
Successful in the times she lived in, an amazing
figurative painter, she challenged me to try to
paint contrasting textures. This small attempt
tries to honor her.
“Portrait of a Noblewomen” 1580 National
Museum of Women in the Arts, Washington D.C.
A Buffalo artist whose work transcends space and
time. Her pear has floating text, and a small
globe, just a peak into Gordon’s world.
“Presenting Evidence” Albright-Knox Art Gallery
2002, a recreation of Gordon’s studio.
A woman who abandoned Abstract Expressionism
to investigate “Painting Art History. My image is
reactionary to her early works regarding
advertisement in America .
“December Second” 1959 Oil on Canvas
48 x 72 in.
NMWA
Responding to her book: “Juchitan de las Mujeres”, I
painted pears reflecting the strong-willed large bodies
women, the matriarchal community in her photoessay, who preserve their culture and traditions.
Juchitan de las Mujeres 1989 A community in
the far south of Mexico, with Zapotec-influences.
The title “Queen Mother” of African American Art was
bestowed upon her by her students & admirers.
Struggles against prejudice and criticism forced her to
have multiple identities as she grew in her art, so too
the pear.
“Ode to Kinshasa” 1972 Mixed Media on canvas
48 x 63 in. NMWA
Experiments with computer technology led Krause and
two women artists to form “Digital Atlelier”, a
printmakers group online. Forcing me to think another
way, the result has the pear open to new methods and
ideas.
Digital Atelier Exhibit , 2005, New Bedford Art
Museum
Little known Dutch painter, her work has often
been confused with Fans Hals. Her amusing
imagery prompted me to have fun with veggies
and her pear. Note: JL not F H!!
“The Concert” ca. 1633 Oil on Canvas NMWA
Working with wood and real found objects , often
including images of herself, Marisol’s work results
in ambiguous ironic , haunting sculptures, thus
this image with my wooden blocks.
“Women and dog” 1964 Wood, plaster, synthetic
polymer, and various media. Whitney museum of
American Art, NYC
Her figurative work has been described as consistent,
serious and an innovative body of work. Responding to
her encouragement, I included fragments of my “Diva”
series with her pear.
“Charlotte Willard” (detail) 1967, “Mary
Shoemaker” (detail) 1965, “Faith Ringgold” (detail)
1977 New Realism/”slyly psychological portraits”
Yes, the wife of Beatle John Lennon did something
else besides help break up the most popular band
in the world. Her pear floats in mystery.
A detail of Yoko Ono’s “Touch me III,”
2008, pre damage. NYC
Little known Irish painter working in oil, with
influences of Degas in some of her work. As she
did I looked to Degas for guidance .
“Trees by the Dodder” Oil on Canvas
Working in paint & collage, she voices concern for
Indian people & the land that was once theirs.
Sadly, I did to the pear what has been done to her
people.
“I See Red: Snowman,” 1992 oil and mixed media
on canvas. Examines American Indian life in
contrast to the consumerism of American society.
With WNY connections, a world collected artist, her
pear reflects the personal expressionism found in
her work.
“Provenance/ Two-Tone” 1975 Acrylic and
tempera on canvas AKG 60 x 113 in. “Seeking to
reconcile a new interest in imagery with the
vocabulary of abstraction…”
One of the founders of Hallwalls, Buffalo, NY, her
“Untitled Film Series” is in MOMA’s collection. Her pear
sits amidst garbage, in response to her Fairytales and
Disasters Series, Garbage is painted with unexpected
results.
Disaster Series: “Untitled #188” 1989
43 ¼ x 65” Cindy is absent from this
garbled image.
Known for her work in geometric forms, collected
world wide, including AKG. Her work inspired a
pear to be cut up and arranged with a particular
sense of design.
“Composition of circles and Semicircles” 1953
Gouache on paper, 10 x 13 ½” NMWA
Photographer of over 3,000 images of people, crafts
and landscapes the Appalachian Mountains, using
archaic large-format cameras. I was prompted to work
slowly, outdoors in limited color.
“Jason Reed” 1933, a chair
maker from North Carolina,
working wood on the shave
horse.
Dedicated to the Surrealist movement in the 1930’s, an
excellent draftswoman,Varo’s work included distorted
perspectives & unexplained narratives. Her pear floats
within a fragment of her work: “The Creation of Birds”.
“Vagabond” 1957 Oil on
Masonite 22 x 10 5/8 in.
Little known British painter of portraits, flowers
and seascapes, her technique reflected
impressionism. Called the best woman artist of
that time. I bowed to paint her pear with flowers.
Portrait: “ The hon. Mrs. Adams”
Circa 1901 oil on canvas
Vienna born figurative painter, Hausner calls her
work, “human landscapes.” My reaction: to paint a
“still life landscape” using fruit to contrast the
faded landscape.
“Lola” hand-painted lithograph
35 ½ x 45 ¼ in.
A successful British photographer, she dressed her
clients as Mythological Creatures and Goddesses.
So, her pear was donned with jewels, befitting
some mysterious subject.
Lady Dorothy Warrender as
“Ceres”, the ancient Italian CornGoddess. These grain mysteries
were enacted by women only.
( 1887-1968) Marguerite and her husband William
were both devoted to bringing Fauvism to America.
Her pear floats in an abstract combing my figurative
work with her landscape. ( she made me do it!)
She and her husband William would paint on both
sides of a canvas, I enlisted my husband Jim to
paint a fragment of her work to honor them, thus
it is shown with a two sided framing.
I am grateful to the artist I referenced and all
women artist- my predecessors and
contemporaries for their creative impulses
and inspiration. I hope that my efforts and
this series, honor their achievements and
serve as a tribute to them. I intend to
continue this project through more research
into each woman’s life and their work to
further communicate their stories through
lectures, print materials and exhibitions.
Coni Minneci 1950-
Slide 2
From Sofonisba Anguissola to Marguerite Thompson Zorach
26 Still Life Paintings using the Pear as a
Metaphor for their work and their lives.
By Coni Minneci
My awareness of the inequities that have historically plagued
the recognition and accomplishments of women artist
compelled me in 2001 to write a paper entitled “ Women in
Art history: A – Z”, as a part of my studies at Empire College.
A few years later, the painting series was begun. These 26
paintings, created over a period of three years, was the result
of my reflection on the notes and other documentation that I
had gathered, and allowing the work and life of each of these
women to influence me and inspire an original still life
painting. Working with subliminal impulses and intuitive
thought, I conceived each work. Some came easily, and others
were perplexing visual challenges.
A woman renowned in her own time as a portrait
artist. I hid her image within this simple
composition as she hid a woman in her self
portrait. Can you find her?
“Self Portrait at the
Clavichord” 1561
Ahhh, Jennifer, stardom at a young age in the art
circles of America. Symphony of visual poetry,
simplified shapes, rhythm and repetition. A star in
the spotlight.
Detail from “Rhapsody” 1975
This outspoken Feminist artist has written seven
books and is exhibited world wide. I did to the
pear what I believe she thinks the history of art
has done to women.
“The Dinner Party” 1979 Five years in
the making, this installation recognizes the
accomplishments of 39 women in history.
Included in this image are fragments from her
early “Cubist Quilt” art, the thread floats within the
painting, representing three segments of her life:
artist-mother-wife.
A scene form the film “Le p’tit Parigot” (1926) with
costumes by Sonia and paintings on the wall by
Robert.
Her talent was hidden until the death of her
famous artist husband, Thomas Eakins. Color is
limited and an unopened flower is a symbol of
her talent waiting to bloom.
“Two Sisters” 1879 oil on canvas
Successful in the times she lived in, an amazing
figurative painter, she challenged me to try to
paint contrasting textures. This small attempt
tries to honor her.
“Portrait of a Noblewomen” 1580 National
Museum of Women in the Arts, Washington D.C.
A Buffalo artist whose work transcends space and
time. Her pear has floating text, and a small
globe, just a peak into Gordon’s world.
“Presenting Evidence” Albright-Knox Art Gallery
2002, a recreation of Gordon’s studio.
A woman who abandoned Abstract Expressionism
to investigate “Painting Art History. My image is
reactionary to her early works regarding
advertisement in America .
“December Second” 1959 Oil on Canvas
48 x 72 in.
NMWA
Responding to her book: “Juchitan de las Mujeres”, I
painted pears reflecting the strong-willed large bodies
women, the matriarchal community in her photoessay, who preserve their culture and traditions.
Juchitan de las Mujeres 1989 A community in
the far south of Mexico, with Zapotec-influences.
The title “Queen Mother” of African American Art was
bestowed upon her by her students & admirers.
Struggles against prejudice and criticism forced her to
have multiple identities as she grew in her art, so too
the pear.
“Ode to Kinshasa” 1972 Mixed Media on canvas
48 x 63 in. NMWA
Experiments with computer technology led Krause and
two women artists to form “Digital Atlelier”, a
printmakers group online. Forcing me to think another
way, the result has the pear open to new methods and
ideas.
Digital Atelier Exhibit , 2005, New Bedford Art
Museum
Little known Dutch painter, her work has often
been confused with Fans Hals. Her amusing
imagery prompted me to have fun with veggies
and her pear. Note: JL not F H!!
“The Concert” ca. 1633 Oil on Canvas NMWA
Working with wood and real found objects , often
including images of herself, Marisol’s work results
in ambiguous ironic , haunting sculptures, thus
this image with my wooden blocks.
“Women and dog” 1964 Wood, plaster, synthetic
polymer, and various media. Whitney museum of
American Art, NYC
Her figurative work has been described as consistent,
serious and an innovative body of work. Responding to
her encouragement, I included fragments of my “Diva”
series with her pear.
“Charlotte Willard” (detail) 1967, “Mary
Shoemaker” (detail) 1965, “Faith Ringgold” (detail)
1977 New Realism/”slyly psychological portraits”
Yes, the wife of Beatle John Lennon did something
else besides help break up the most popular band
in the world. Her pear floats in mystery.
A detail of Yoko Ono’s “Touch me III,”
2008, pre damage. NYC
Little known Irish painter working in oil, with
influences of Degas in some of her work. As she
did I looked to Degas for guidance .
“Trees by the Dodder” Oil on Canvas
Working in paint & collage, she voices concern for
Indian people & the land that was once theirs.
Sadly, I did to the pear what has been done to her
people.
“I See Red: Snowman,” 1992 oil and mixed media
on canvas. Examines American Indian life in
contrast to the consumerism of American society.
With WNY connections, a world collected artist, her
pear reflects the personal expressionism found in
her work.
“Provenance/ Two-Tone” 1975 Acrylic and
tempera on canvas AKG 60 x 113 in. “Seeking to
reconcile a new interest in imagery with the
vocabulary of abstraction…”
One of the founders of Hallwalls, Buffalo, NY, her
“Untitled Film Series” is in MOMA’s collection. Her pear
sits amidst garbage, in response to her Fairytales and
Disasters Series, Garbage is painted with unexpected
results.
Disaster Series: “Untitled #188” 1989
43 ¼ x 65” Cindy is absent from this
garbled image.
Known for her work in geometric forms, collected
world wide, including AKG. Her work inspired a
pear to be cut up and arranged with a particular
sense of design.
“Composition of circles and Semicircles” 1953
Gouache on paper, 10 x 13 ½” NMWA
Photographer of over 3,000 images of people, crafts
and landscapes the Appalachian Mountains, using
archaic large-format cameras. I was prompted to work
slowly, outdoors in limited color.
“Jason Reed” 1933, a chair
maker from North Carolina,
working wood on the shave
horse.
Dedicated to the Surrealist movement in the 1930’s, an
excellent draftswoman,Varo’s work included distorted
perspectives & unexplained narratives. Her pear floats
within a fragment of her work: “The Creation of Birds”.
“Vagabond” 1957 Oil on
Masonite 22 x 10 5/8 in.
Little known British painter of portraits, flowers
and seascapes, her technique reflected
impressionism. Called the best woman artist of
that time. I bowed to paint her pear with flowers.
Portrait: “ The hon. Mrs. Adams”
Circa 1901 oil on canvas
Vienna born figurative painter, Hausner calls her
work, “human landscapes.” My reaction: to paint a
“still life landscape” using fruit to contrast the
faded landscape.
“Lola” hand-painted lithograph
35 ½ x 45 ¼ in.
A successful British photographer, she dressed her
clients as Mythological Creatures and Goddesses.
So, her pear was donned with jewels, befitting
some mysterious subject.
Lady Dorothy Warrender as
“Ceres”, the ancient Italian CornGoddess. These grain mysteries
were enacted by women only.
( 1887-1968) Marguerite and her husband William
were both devoted to bringing Fauvism to America.
Her pear floats in an abstract combing my figurative
work with her landscape. ( she made me do it!)
She and her husband William would paint on both
sides of a canvas, I enlisted my husband Jim to
paint a fragment of her work to honor them, thus
it is shown with a two sided framing.
I am grateful to the artist I referenced and all
women artist- my predecessors and
contemporaries for their creative impulses
and inspiration. I hope that my efforts and
this series, honor their achievements and
serve as a tribute to them. I intend to
continue this project through more research
into each woman’s life and their work to
further communicate their stories through
lectures, print materials and exhibitions.
Coni Minneci 1950-
Slide 3
From Sofonisba Anguissola to Marguerite Thompson Zorach
26 Still Life Paintings using the Pear as a
Metaphor for their work and their lives.
By Coni Minneci
My awareness of the inequities that have historically plagued
the recognition and accomplishments of women artist
compelled me in 2001 to write a paper entitled “ Women in
Art history: A – Z”, as a part of my studies at Empire College.
A few years later, the painting series was begun. These 26
paintings, created over a period of three years, was the result
of my reflection on the notes and other documentation that I
had gathered, and allowing the work and life of each of these
women to influence me and inspire an original still life
painting. Working with subliminal impulses and intuitive
thought, I conceived each work. Some came easily, and others
were perplexing visual challenges.
A woman renowned in her own time as a portrait
artist. I hid her image within this simple
composition as she hid a woman in her self
portrait. Can you find her?
“Self Portrait at the
Clavichord” 1561
Ahhh, Jennifer, stardom at a young age in the art
circles of America. Symphony of visual poetry,
simplified shapes, rhythm and repetition. A star in
the spotlight.
Detail from “Rhapsody” 1975
This outspoken Feminist artist has written seven
books and is exhibited world wide. I did to the
pear what I believe she thinks the history of art
has done to women.
“The Dinner Party” 1979 Five years in
the making, this installation recognizes the
accomplishments of 39 women in history.
Included in this image are fragments from her
early “Cubist Quilt” art, the thread floats within the
painting, representing three segments of her life:
artist-mother-wife.
A scene form the film “Le p’tit Parigot” (1926) with
costumes by Sonia and paintings on the wall by
Robert.
Her talent was hidden until the death of her
famous artist husband, Thomas Eakins. Color is
limited and an unopened flower is a symbol of
her talent waiting to bloom.
“Two Sisters” 1879 oil on canvas
Successful in the times she lived in, an amazing
figurative painter, she challenged me to try to
paint contrasting textures. This small attempt
tries to honor her.
“Portrait of a Noblewomen” 1580 National
Museum of Women in the Arts, Washington D.C.
A Buffalo artist whose work transcends space and
time. Her pear has floating text, and a small
globe, just a peak into Gordon’s world.
“Presenting Evidence” Albright-Knox Art Gallery
2002, a recreation of Gordon’s studio.
A woman who abandoned Abstract Expressionism
to investigate “Painting Art History. My image is
reactionary to her early works regarding
advertisement in America .
“December Second” 1959 Oil on Canvas
48 x 72 in.
NMWA
Responding to her book: “Juchitan de las Mujeres”, I
painted pears reflecting the strong-willed large bodies
women, the matriarchal community in her photoessay, who preserve their culture and traditions.
Juchitan de las Mujeres 1989 A community in
the far south of Mexico, with Zapotec-influences.
The title “Queen Mother” of African American Art was
bestowed upon her by her students & admirers.
Struggles against prejudice and criticism forced her to
have multiple identities as she grew in her art, so too
the pear.
“Ode to Kinshasa” 1972 Mixed Media on canvas
48 x 63 in. NMWA
Experiments with computer technology led Krause and
two women artists to form “Digital Atlelier”, a
printmakers group online. Forcing me to think another
way, the result has the pear open to new methods and
ideas.
Digital Atelier Exhibit , 2005, New Bedford Art
Museum
Little known Dutch painter, her work has often
been confused with Fans Hals. Her amusing
imagery prompted me to have fun with veggies
and her pear. Note: JL not F H!!
“The Concert” ca. 1633 Oil on Canvas NMWA
Working with wood and real found objects , often
including images of herself, Marisol’s work results
in ambiguous ironic , haunting sculptures, thus
this image with my wooden blocks.
“Women and dog” 1964 Wood, plaster, synthetic
polymer, and various media. Whitney museum of
American Art, NYC
Her figurative work has been described as consistent,
serious and an innovative body of work. Responding to
her encouragement, I included fragments of my “Diva”
series with her pear.
“Charlotte Willard” (detail) 1967, “Mary
Shoemaker” (detail) 1965, “Faith Ringgold” (detail)
1977 New Realism/”slyly psychological portraits”
Yes, the wife of Beatle John Lennon did something
else besides help break up the most popular band
in the world. Her pear floats in mystery.
A detail of Yoko Ono’s “Touch me III,”
2008, pre damage. NYC
Little known Irish painter working in oil, with
influences of Degas in some of her work. As she
did I looked to Degas for guidance .
“Trees by the Dodder” Oil on Canvas
Working in paint & collage, she voices concern for
Indian people & the land that was once theirs.
Sadly, I did to the pear what has been done to her
people.
“I See Red: Snowman,” 1992 oil and mixed media
on canvas. Examines American Indian life in
contrast to the consumerism of American society.
With WNY connections, a world collected artist, her
pear reflects the personal expressionism found in
her work.
“Provenance/ Two-Tone” 1975 Acrylic and
tempera on canvas AKG 60 x 113 in. “Seeking to
reconcile a new interest in imagery with the
vocabulary of abstraction…”
One of the founders of Hallwalls, Buffalo, NY, her
“Untitled Film Series” is in MOMA’s collection. Her pear
sits amidst garbage, in response to her Fairytales and
Disasters Series, Garbage is painted with unexpected
results.
Disaster Series: “Untitled #188” 1989
43 ¼ x 65” Cindy is absent from this
garbled image.
Known for her work in geometric forms, collected
world wide, including AKG. Her work inspired a
pear to be cut up and arranged with a particular
sense of design.
“Composition of circles and Semicircles” 1953
Gouache on paper, 10 x 13 ½” NMWA
Photographer of over 3,000 images of people, crafts
and landscapes the Appalachian Mountains, using
archaic large-format cameras. I was prompted to work
slowly, outdoors in limited color.
“Jason Reed” 1933, a chair
maker from North Carolina,
working wood on the shave
horse.
Dedicated to the Surrealist movement in the 1930’s, an
excellent draftswoman,Varo’s work included distorted
perspectives & unexplained narratives. Her pear floats
within a fragment of her work: “The Creation of Birds”.
“Vagabond” 1957 Oil on
Masonite 22 x 10 5/8 in.
Little known British painter of portraits, flowers
and seascapes, her technique reflected
impressionism. Called the best woman artist of
that time. I bowed to paint her pear with flowers.
Portrait: “ The hon. Mrs. Adams”
Circa 1901 oil on canvas
Vienna born figurative painter, Hausner calls her
work, “human landscapes.” My reaction: to paint a
“still life landscape” using fruit to contrast the
faded landscape.
“Lola” hand-painted lithograph
35 ½ x 45 ¼ in.
A successful British photographer, she dressed her
clients as Mythological Creatures and Goddesses.
So, her pear was donned with jewels, befitting
some mysterious subject.
Lady Dorothy Warrender as
“Ceres”, the ancient Italian CornGoddess. These grain mysteries
were enacted by women only.
( 1887-1968) Marguerite and her husband William
were both devoted to bringing Fauvism to America.
Her pear floats in an abstract combing my figurative
work with her landscape. ( she made me do it!)
She and her husband William would paint on both
sides of a canvas, I enlisted my husband Jim to
paint a fragment of her work to honor them, thus
it is shown with a two sided framing.
I am grateful to the artist I referenced and all
women artist- my predecessors and
contemporaries for their creative impulses
and inspiration. I hope that my efforts and
this series, honor their achievements and
serve as a tribute to them. I intend to
continue this project through more research
into each woman’s life and their work to
further communicate their stories through
lectures, print materials and exhibitions.
Coni Minneci 1950-
Slide 4
From Sofonisba Anguissola to Marguerite Thompson Zorach
26 Still Life Paintings using the Pear as a
Metaphor for their work and their lives.
By Coni Minneci
My awareness of the inequities that have historically plagued
the recognition and accomplishments of women artist
compelled me in 2001 to write a paper entitled “ Women in
Art history: A – Z”, as a part of my studies at Empire College.
A few years later, the painting series was begun. These 26
paintings, created over a period of three years, was the result
of my reflection on the notes and other documentation that I
had gathered, and allowing the work and life of each of these
women to influence me and inspire an original still life
painting. Working with subliminal impulses and intuitive
thought, I conceived each work. Some came easily, and others
were perplexing visual challenges.
A woman renowned in her own time as a portrait
artist. I hid her image within this simple
composition as she hid a woman in her self
portrait. Can you find her?
“Self Portrait at the
Clavichord” 1561
Ahhh, Jennifer, stardom at a young age in the art
circles of America. Symphony of visual poetry,
simplified shapes, rhythm and repetition. A star in
the spotlight.
Detail from “Rhapsody” 1975
This outspoken Feminist artist has written seven
books and is exhibited world wide. I did to the
pear what I believe she thinks the history of art
has done to women.
“The Dinner Party” 1979 Five years in
the making, this installation recognizes the
accomplishments of 39 women in history.
Included in this image are fragments from her
early “Cubist Quilt” art, the thread floats within the
painting, representing three segments of her life:
artist-mother-wife.
A scene form the film “Le p’tit Parigot” (1926) with
costumes by Sonia and paintings on the wall by
Robert.
Her talent was hidden until the death of her
famous artist husband, Thomas Eakins. Color is
limited and an unopened flower is a symbol of
her talent waiting to bloom.
“Two Sisters” 1879 oil on canvas
Successful in the times she lived in, an amazing
figurative painter, she challenged me to try to
paint contrasting textures. This small attempt
tries to honor her.
“Portrait of a Noblewomen” 1580 National
Museum of Women in the Arts, Washington D.C.
A Buffalo artist whose work transcends space and
time. Her pear has floating text, and a small
globe, just a peak into Gordon’s world.
“Presenting Evidence” Albright-Knox Art Gallery
2002, a recreation of Gordon’s studio.
A woman who abandoned Abstract Expressionism
to investigate “Painting Art History. My image is
reactionary to her early works regarding
advertisement in America .
“December Second” 1959 Oil on Canvas
48 x 72 in.
NMWA
Responding to her book: “Juchitan de las Mujeres”, I
painted pears reflecting the strong-willed large bodies
women, the matriarchal community in her photoessay, who preserve their culture and traditions.
Juchitan de las Mujeres 1989 A community in
the far south of Mexico, with Zapotec-influences.
The title “Queen Mother” of African American Art was
bestowed upon her by her students & admirers.
Struggles against prejudice and criticism forced her to
have multiple identities as she grew in her art, so too
the pear.
“Ode to Kinshasa” 1972 Mixed Media on canvas
48 x 63 in. NMWA
Experiments with computer technology led Krause and
two women artists to form “Digital Atlelier”, a
printmakers group online. Forcing me to think another
way, the result has the pear open to new methods and
ideas.
Digital Atelier Exhibit , 2005, New Bedford Art
Museum
Little known Dutch painter, her work has often
been confused with Fans Hals. Her amusing
imagery prompted me to have fun with veggies
and her pear. Note: JL not F H!!
“The Concert” ca. 1633 Oil on Canvas NMWA
Working with wood and real found objects , often
including images of herself, Marisol’s work results
in ambiguous ironic , haunting sculptures, thus
this image with my wooden blocks.
“Women and dog” 1964 Wood, plaster, synthetic
polymer, and various media. Whitney museum of
American Art, NYC
Her figurative work has been described as consistent,
serious and an innovative body of work. Responding to
her encouragement, I included fragments of my “Diva”
series with her pear.
“Charlotte Willard” (detail) 1967, “Mary
Shoemaker” (detail) 1965, “Faith Ringgold” (detail)
1977 New Realism/”slyly psychological portraits”
Yes, the wife of Beatle John Lennon did something
else besides help break up the most popular band
in the world. Her pear floats in mystery.
A detail of Yoko Ono’s “Touch me III,”
2008, pre damage. NYC
Little known Irish painter working in oil, with
influences of Degas in some of her work. As she
did I looked to Degas for guidance .
“Trees by the Dodder” Oil on Canvas
Working in paint & collage, she voices concern for
Indian people & the land that was once theirs.
Sadly, I did to the pear what has been done to her
people.
“I See Red: Snowman,” 1992 oil and mixed media
on canvas. Examines American Indian life in
contrast to the consumerism of American society.
With WNY connections, a world collected artist, her
pear reflects the personal expressionism found in
her work.
“Provenance/ Two-Tone” 1975 Acrylic and
tempera on canvas AKG 60 x 113 in. “Seeking to
reconcile a new interest in imagery with the
vocabulary of abstraction…”
One of the founders of Hallwalls, Buffalo, NY, her
“Untitled Film Series” is in MOMA’s collection. Her pear
sits amidst garbage, in response to her Fairytales and
Disasters Series, Garbage is painted with unexpected
results.
Disaster Series: “Untitled #188” 1989
43 ¼ x 65” Cindy is absent from this
garbled image.
Known for her work in geometric forms, collected
world wide, including AKG. Her work inspired a
pear to be cut up and arranged with a particular
sense of design.
“Composition of circles and Semicircles” 1953
Gouache on paper, 10 x 13 ½” NMWA
Photographer of over 3,000 images of people, crafts
and landscapes the Appalachian Mountains, using
archaic large-format cameras. I was prompted to work
slowly, outdoors in limited color.
“Jason Reed” 1933, a chair
maker from North Carolina,
working wood on the shave
horse.
Dedicated to the Surrealist movement in the 1930’s, an
excellent draftswoman,Varo’s work included distorted
perspectives & unexplained narratives. Her pear floats
within a fragment of her work: “The Creation of Birds”.
“Vagabond” 1957 Oil on
Masonite 22 x 10 5/8 in.
Little known British painter of portraits, flowers
and seascapes, her technique reflected
impressionism. Called the best woman artist of
that time. I bowed to paint her pear with flowers.
Portrait: “ The hon. Mrs. Adams”
Circa 1901 oil on canvas
Vienna born figurative painter, Hausner calls her
work, “human landscapes.” My reaction: to paint a
“still life landscape” using fruit to contrast the
faded landscape.
“Lola” hand-painted lithograph
35 ½ x 45 ¼ in.
A successful British photographer, she dressed her
clients as Mythological Creatures and Goddesses.
So, her pear was donned with jewels, befitting
some mysterious subject.
Lady Dorothy Warrender as
“Ceres”, the ancient Italian CornGoddess. These grain mysteries
were enacted by women only.
( 1887-1968) Marguerite and her husband William
were both devoted to bringing Fauvism to America.
Her pear floats in an abstract combing my figurative
work with her landscape. ( she made me do it!)
She and her husband William would paint on both
sides of a canvas, I enlisted my husband Jim to
paint a fragment of her work to honor them, thus
it is shown with a two sided framing.
I am grateful to the artist I referenced and all
women artist- my predecessors and
contemporaries for their creative impulses
and inspiration. I hope that my efforts and
this series, honor their achievements and
serve as a tribute to them. I intend to
continue this project through more research
into each woman’s life and their work to
further communicate their stories through
lectures, print materials and exhibitions.
Coni Minneci 1950-
Slide 5
From Sofonisba Anguissola to Marguerite Thompson Zorach
26 Still Life Paintings using the Pear as a
Metaphor for their work and their lives.
By Coni Minneci
My awareness of the inequities that have historically plagued
the recognition and accomplishments of women artist
compelled me in 2001 to write a paper entitled “ Women in
Art history: A – Z”, as a part of my studies at Empire College.
A few years later, the painting series was begun. These 26
paintings, created over a period of three years, was the result
of my reflection on the notes and other documentation that I
had gathered, and allowing the work and life of each of these
women to influence me and inspire an original still life
painting. Working with subliminal impulses and intuitive
thought, I conceived each work. Some came easily, and others
were perplexing visual challenges.
A woman renowned in her own time as a portrait
artist. I hid her image within this simple
composition as she hid a woman in her self
portrait. Can you find her?
“Self Portrait at the
Clavichord” 1561
Ahhh, Jennifer, stardom at a young age in the art
circles of America. Symphony of visual poetry,
simplified shapes, rhythm and repetition. A star in
the spotlight.
Detail from “Rhapsody” 1975
This outspoken Feminist artist has written seven
books and is exhibited world wide. I did to the
pear what I believe she thinks the history of art
has done to women.
“The Dinner Party” 1979 Five years in
the making, this installation recognizes the
accomplishments of 39 women in history.
Included in this image are fragments from her
early “Cubist Quilt” art, the thread floats within the
painting, representing three segments of her life:
artist-mother-wife.
A scene form the film “Le p’tit Parigot” (1926) with
costumes by Sonia and paintings on the wall by
Robert.
Her talent was hidden until the death of her
famous artist husband, Thomas Eakins. Color is
limited and an unopened flower is a symbol of
her talent waiting to bloom.
“Two Sisters” 1879 oil on canvas
Successful in the times she lived in, an amazing
figurative painter, she challenged me to try to
paint contrasting textures. This small attempt
tries to honor her.
“Portrait of a Noblewomen” 1580 National
Museum of Women in the Arts, Washington D.C.
A Buffalo artist whose work transcends space and
time. Her pear has floating text, and a small
globe, just a peak into Gordon’s world.
“Presenting Evidence” Albright-Knox Art Gallery
2002, a recreation of Gordon’s studio.
A woman who abandoned Abstract Expressionism
to investigate “Painting Art History. My image is
reactionary to her early works regarding
advertisement in America .
“December Second” 1959 Oil on Canvas
48 x 72 in.
NMWA
Responding to her book: “Juchitan de las Mujeres”, I
painted pears reflecting the strong-willed large bodies
women, the matriarchal community in her photoessay, who preserve their culture and traditions.
Juchitan de las Mujeres 1989 A community in
the far south of Mexico, with Zapotec-influences.
The title “Queen Mother” of African American Art was
bestowed upon her by her students & admirers.
Struggles against prejudice and criticism forced her to
have multiple identities as she grew in her art, so too
the pear.
“Ode to Kinshasa” 1972 Mixed Media on canvas
48 x 63 in. NMWA
Experiments with computer technology led Krause and
two women artists to form “Digital Atlelier”, a
printmakers group online. Forcing me to think another
way, the result has the pear open to new methods and
ideas.
Digital Atelier Exhibit , 2005, New Bedford Art
Museum
Little known Dutch painter, her work has often
been confused with Fans Hals. Her amusing
imagery prompted me to have fun with veggies
and her pear. Note: JL not F H!!
“The Concert” ca. 1633 Oil on Canvas NMWA
Working with wood and real found objects , often
including images of herself, Marisol’s work results
in ambiguous ironic , haunting sculptures, thus
this image with my wooden blocks.
“Women and dog” 1964 Wood, plaster, synthetic
polymer, and various media. Whitney museum of
American Art, NYC
Her figurative work has been described as consistent,
serious and an innovative body of work. Responding to
her encouragement, I included fragments of my “Diva”
series with her pear.
“Charlotte Willard” (detail) 1967, “Mary
Shoemaker” (detail) 1965, “Faith Ringgold” (detail)
1977 New Realism/”slyly psychological portraits”
Yes, the wife of Beatle John Lennon did something
else besides help break up the most popular band
in the world. Her pear floats in mystery.
A detail of Yoko Ono’s “Touch me III,”
2008, pre damage. NYC
Little known Irish painter working in oil, with
influences of Degas in some of her work. As she
did I looked to Degas for guidance .
“Trees by the Dodder” Oil on Canvas
Working in paint & collage, she voices concern for
Indian people & the land that was once theirs.
Sadly, I did to the pear what has been done to her
people.
“I See Red: Snowman,” 1992 oil and mixed media
on canvas. Examines American Indian life in
contrast to the consumerism of American society.
With WNY connections, a world collected artist, her
pear reflects the personal expressionism found in
her work.
“Provenance/ Two-Tone” 1975 Acrylic and
tempera on canvas AKG 60 x 113 in. “Seeking to
reconcile a new interest in imagery with the
vocabulary of abstraction…”
One of the founders of Hallwalls, Buffalo, NY, her
“Untitled Film Series” is in MOMA’s collection. Her pear
sits amidst garbage, in response to her Fairytales and
Disasters Series, Garbage is painted with unexpected
results.
Disaster Series: “Untitled #188” 1989
43 ¼ x 65” Cindy is absent from this
garbled image.
Known for her work in geometric forms, collected
world wide, including AKG. Her work inspired a
pear to be cut up and arranged with a particular
sense of design.
“Composition of circles and Semicircles” 1953
Gouache on paper, 10 x 13 ½” NMWA
Photographer of over 3,000 images of people, crafts
and landscapes the Appalachian Mountains, using
archaic large-format cameras. I was prompted to work
slowly, outdoors in limited color.
“Jason Reed” 1933, a chair
maker from North Carolina,
working wood on the shave
horse.
Dedicated to the Surrealist movement in the 1930’s, an
excellent draftswoman,Varo’s work included distorted
perspectives & unexplained narratives. Her pear floats
within a fragment of her work: “The Creation of Birds”.
“Vagabond” 1957 Oil on
Masonite 22 x 10 5/8 in.
Little known British painter of portraits, flowers
and seascapes, her technique reflected
impressionism. Called the best woman artist of
that time. I bowed to paint her pear with flowers.
Portrait: “ The hon. Mrs. Adams”
Circa 1901 oil on canvas
Vienna born figurative painter, Hausner calls her
work, “human landscapes.” My reaction: to paint a
“still life landscape” using fruit to contrast the
faded landscape.
“Lola” hand-painted lithograph
35 ½ x 45 ¼ in.
A successful British photographer, she dressed her
clients as Mythological Creatures and Goddesses.
So, her pear was donned with jewels, befitting
some mysterious subject.
Lady Dorothy Warrender as
“Ceres”, the ancient Italian CornGoddess. These grain mysteries
were enacted by women only.
( 1887-1968) Marguerite and her husband William
were both devoted to bringing Fauvism to America.
Her pear floats in an abstract combing my figurative
work with her landscape. ( she made me do it!)
She and her husband William would paint on both
sides of a canvas, I enlisted my husband Jim to
paint a fragment of her work to honor them, thus
it is shown with a two sided framing.
I am grateful to the artist I referenced and all
women artist- my predecessors and
contemporaries for their creative impulses
and inspiration. I hope that my efforts and
this series, honor their achievements and
serve as a tribute to them. I intend to
continue this project through more research
into each woman’s life and their work to
further communicate their stories through
lectures, print materials and exhibitions.
Coni Minneci 1950-
Slide 6
From Sofonisba Anguissola to Marguerite Thompson Zorach
26 Still Life Paintings using the Pear as a
Metaphor for their work and their lives.
By Coni Minneci
My awareness of the inequities that have historically plagued
the recognition and accomplishments of women artist
compelled me in 2001 to write a paper entitled “ Women in
Art history: A – Z”, as a part of my studies at Empire College.
A few years later, the painting series was begun. These 26
paintings, created over a period of three years, was the result
of my reflection on the notes and other documentation that I
had gathered, and allowing the work and life of each of these
women to influence me and inspire an original still life
painting. Working with subliminal impulses and intuitive
thought, I conceived each work. Some came easily, and others
were perplexing visual challenges.
A woman renowned in her own time as a portrait
artist. I hid her image within this simple
composition as she hid a woman in her self
portrait. Can you find her?
“Self Portrait at the
Clavichord” 1561
Ahhh, Jennifer, stardom at a young age in the art
circles of America. Symphony of visual poetry,
simplified shapes, rhythm and repetition. A star in
the spotlight.
Detail from “Rhapsody” 1975
This outspoken Feminist artist has written seven
books and is exhibited world wide. I did to the
pear what I believe she thinks the history of art
has done to women.
“The Dinner Party” 1979 Five years in
the making, this installation recognizes the
accomplishments of 39 women in history.
Included in this image are fragments from her
early “Cubist Quilt” art, the thread floats within the
painting, representing three segments of her life:
artist-mother-wife.
A scene form the film “Le p’tit Parigot” (1926) with
costumes by Sonia and paintings on the wall by
Robert.
Her talent was hidden until the death of her
famous artist husband, Thomas Eakins. Color is
limited and an unopened flower is a symbol of
her talent waiting to bloom.
“Two Sisters” 1879 oil on canvas
Successful in the times she lived in, an amazing
figurative painter, she challenged me to try to
paint contrasting textures. This small attempt
tries to honor her.
“Portrait of a Noblewomen” 1580 National
Museum of Women in the Arts, Washington D.C.
A Buffalo artist whose work transcends space and
time. Her pear has floating text, and a small
globe, just a peak into Gordon’s world.
“Presenting Evidence” Albright-Knox Art Gallery
2002, a recreation of Gordon’s studio.
A woman who abandoned Abstract Expressionism
to investigate “Painting Art History. My image is
reactionary to her early works regarding
advertisement in America .
“December Second” 1959 Oil on Canvas
48 x 72 in.
NMWA
Responding to her book: “Juchitan de las Mujeres”, I
painted pears reflecting the strong-willed large bodies
women, the matriarchal community in her photoessay, who preserve their culture and traditions.
Juchitan de las Mujeres 1989 A community in
the far south of Mexico, with Zapotec-influences.
The title “Queen Mother” of African American Art was
bestowed upon her by her students & admirers.
Struggles against prejudice and criticism forced her to
have multiple identities as she grew in her art, so too
the pear.
“Ode to Kinshasa” 1972 Mixed Media on canvas
48 x 63 in. NMWA
Experiments with computer technology led Krause and
two women artists to form “Digital Atlelier”, a
printmakers group online. Forcing me to think another
way, the result has the pear open to new methods and
ideas.
Digital Atelier Exhibit , 2005, New Bedford Art
Museum
Little known Dutch painter, her work has often
been confused with Fans Hals. Her amusing
imagery prompted me to have fun with veggies
and her pear. Note: JL not F H!!
“The Concert” ca. 1633 Oil on Canvas NMWA
Working with wood and real found objects , often
including images of herself, Marisol’s work results
in ambiguous ironic , haunting sculptures, thus
this image with my wooden blocks.
“Women and dog” 1964 Wood, plaster, synthetic
polymer, and various media. Whitney museum of
American Art, NYC
Her figurative work has been described as consistent,
serious and an innovative body of work. Responding to
her encouragement, I included fragments of my “Diva”
series with her pear.
“Charlotte Willard” (detail) 1967, “Mary
Shoemaker” (detail) 1965, “Faith Ringgold” (detail)
1977 New Realism/”slyly psychological portraits”
Yes, the wife of Beatle John Lennon did something
else besides help break up the most popular band
in the world. Her pear floats in mystery.
A detail of Yoko Ono’s “Touch me III,”
2008, pre damage. NYC
Little known Irish painter working in oil, with
influences of Degas in some of her work. As she
did I looked to Degas for guidance .
“Trees by the Dodder” Oil on Canvas
Working in paint & collage, she voices concern for
Indian people & the land that was once theirs.
Sadly, I did to the pear what has been done to her
people.
“I See Red: Snowman,” 1992 oil and mixed media
on canvas. Examines American Indian life in
contrast to the consumerism of American society.
With WNY connections, a world collected artist, her
pear reflects the personal expressionism found in
her work.
“Provenance/ Two-Tone” 1975 Acrylic and
tempera on canvas AKG 60 x 113 in. “Seeking to
reconcile a new interest in imagery with the
vocabulary of abstraction…”
One of the founders of Hallwalls, Buffalo, NY, her
“Untitled Film Series” is in MOMA’s collection. Her pear
sits amidst garbage, in response to her Fairytales and
Disasters Series, Garbage is painted with unexpected
results.
Disaster Series: “Untitled #188” 1989
43 ¼ x 65” Cindy is absent from this
garbled image.
Known for her work in geometric forms, collected
world wide, including AKG. Her work inspired a
pear to be cut up and arranged with a particular
sense of design.
“Composition of circles and Semicircles” 1953
Gouache on paper, 10 x 13 ½” NMWA
Photographer of over 3,000 images of people, crafts
and landscapes the Appalachian Mountains, using
archaic large-format cameras. I was prompted to work
slowly, outdoors in limited color.
“Jason Reed” 1933, a chair
maker from North Carolina,
working wood on the shave
horse.
Dedicated to the Surrealist movement in the 1930’s, an
excellent draftswoman,Varo’s work included distorted
perspectives & unexplained narratives. Her pear floats
within a fragment of her work: “The Creation of Birds”.
“Vagabond” 1957 Oil on
Masonite 22 x 10 5/8 in.
Little known British painter of portraits, flowers
and seascapes, her technique reflected
impressionism. Called the best woman artist of
that time. I bowed to paint her pear with flowers.
Portrait: “ The hon. Mrs. Adams”
Circa 1901 oil on canvas
Vienna born figurative painter, Hausner calls her
work, “human landscapes.” My reaction: to paint a
“still life landscape” using fruit to contrast the
faded landscape.
“Lola” hand-painted lithograph
35 ½ x 45 ¼ in.
A successful British photographer, she dressed her
clients as Mythological Creatures and Goddesses.
So, her pear was donned with jewels, befitting
some mysterious subject.
Lady Dorothy Warrender as
“Ceres”, the ancient Italian CornGoddess. These grain mysteries
were enacted by women only.
( 1887-1968) Marguerite and her husband William
were both devoted to bringing Fauvism to America.
Her pear floats in an abstract combing my figurative
work with her landscape. ( she made me do it!)
She and her husband William would paint on both
sides of a canvas, I enlisted my husband Jim to
paint a fragment of her work to honor them, thus
it is shown with a two sided framing.
I am grateful to the artist I referenced and all
women artist- my predecessors and
contemporaries for their creative impulses
and inspiration. I hope that my efforts and
this series, honor their achievements and
serve as a tribute to them. I intend to
continue this project through more research
into each woman’s life and their work to
further communicate their stories through
lectures, print materials and exhibitions.
Coni Minneci 1950-
Slide 7
From Sofonisba Anguissola to Marguerite Thompson Zorach
26 Still Life Paintings using the Pear as a
Metaphor for their work and their lives.
By Coni Minneci
My awareness of the inequities that have historically plagued
the recognition and accomplishments of women artist
compelled me in 2001 to write a paper entitled “ Women in
Art history: A – Z”, as a part of my studies at Empire College.
A few years later, the painting series was begun. These 26
paintings, created over a period of three years, was the result
of my reflection on the notes and other documentation that I
had gathered, and allowing the work and life of each of these
women to influence me and inspire an original still life
painting. Working with subliminal impulses and intuitive
thought, I conceived each work. Some came easily, and others
were perplexing visual challenges.
A woman renowned in her own time as a portrait
artist. I hid her image within this simple
composition as she hid a woman in her self
portrait. Can you find her?
“Self Portrait at the
Clavichord” 1561
Ahhh, Jennifer, stardom at a young age in the art
circles of America. Symphony of visual poetry,
simplified shapes, rhythm and repetition. A star in
the spotlight.
Detail from “Rhapsody” 1975
This outspoken Feminist artist has written seven
books and is exhibited world wide. I did to the
pear what I believe she thinks the history of art
has done to women.
“The Dinner Party” 1979 Five years in
the making, this installation recognizes the
accomplishments of 39 women in history.
Included in this image are fragments from her
early “Cubist Quilt” art, the thread floats within the
painting, representing three segments of her life:
artist-mother-wife.
A scene form the film “Le p’tit Parigot” (1926) with
costumes by Sonia and paintings on the wall by
Robert.
Her talent was hidden until the death of her
famous artist husband, Thomas Eakins. Color is
limited and an unopened flower is a symbol of
her talent waiting to bloom.
“Two Sisters” 1879 oil on canvas
Successful in the times she lived in, an amazing
figurative painter, she challenged me to try to
paint contrasting textures. This small attempt
tries to honor her.
“Portrait of a Noblewomen” 1580 National
Museum of Women in the Arts, Washington D.C.
A Buffalo artist whose work transcends space and
time. Her pear has floating text, and a small
globe, just a peak into Gordon’s world.
“Presenting Evidence” Albright-Knox Art Gallery
2002, a recreation of Gordon’s studio.
A woman who abandoned Abstract Expressionism
to investigate “Painting Art History. My image is
reactionary to her early works regarding
advertisement in America .
“December Second” 1959 Oil on Canvas
48 x 72 in.
NMWA
Responding to her book: “Juchitan de las Mujeres”, I
painted pears reflecting the strong-willed large bodies
women, the matriarchal community in her photoessay, who preserve their culture and traditions.
Juchitan de las Mujeres 1989 A community in
the far south of Mexico, with Zapotec-influences.
The title “Queen Mother” of African American Art was
bestowed upon her by her students & admirers.
Struggles against prejudice and criticism forced her to
have multiple identities as she grew in her art, so too
the pear.
“Ode to Kinshasa” 1972 Mixed Media on canvas
48 x 63 in. NMWA
Experiments with computer technology led Krause and
two women artists to form “Digital Atlelier”, a
printmakers group online. Forcing me to think another
way, the result has the pear open to new methods and
ideas.
Digital Atelier Exhibit , 2005, New Bedford Art
Museum
Little known Dutch painter, her work has often
been confused with Fans Hals. Her amusing
imagery prompted me to have fun with veggies
and her pear. Note: JL not F H!!
“The Concert” ca. 1633 Oil on Canvas NMWA
Working with wood and real found objects , often
including images of herself, Marisol’s work results
in ambiguous ironic , haunting sculptures, thus
this image with my wooden blocks.
“Women and dog” 1964 Wood, plaster, synthetic
polymer, and various media. Whitney museum of
American Art, NYC
Her figurative work has been described as consistent,
serious and an innovative body of work. Responding to
her encouragement, I included fragments of my “Diva”
series with her pear.
“Charlotte Willard” (detail) 1967, “Mary
Shoemaker” (detail) 1965, “Faith Ringgold” (detail)
1977 New Realism/”slyly psychological portraits”
Yes, the wife of Beatle John Lennon did something
else besides help break up the most popular band
in the world. Her pear floats in mystery.
A detail of Yoko Ono’s “Touch me III,”
2008, pre damage. NYC
Little known Irish painter working in oil, with
influences of Degas in some of her work. As she
did I looked to Degas for guidance .
“Trees by the Dodder” Oil on Canvas
Working in paint & collage, she voices concern for
Indian people & the land that was once theirs.
Sadly, I did to the pear what has been done to her
people.
“I See Red: Snowman,” 1992 oil and mixed media
on canvas. Examines American Indian life in
contrast to the consumerism of American society.
With WNY connections, a world collected artist, her
pear reflects the personal expressionism found in
her work.
“Provenance/ Two-Tone” 1975 Acrylic and
tempera on canvas AKG 60 x 113 in. “Seeking to
reconcile a new interest in imagery with the
vocabulary of abstraction…”
One of the founders of Hallwalls, Buffalo, NY, her
“Untitled Film Series” is in MOMA’s collection. Her pear
sits amidst garbage, in response to her Fairytales and
Disasters Series, Garbage is painted with unexpected
results.
Disaster Series: “Untitled #188” 1989
43 ¼ x 65” Cindy is absent from this
garbled image.
Known for her work in geometric forms, collected
world wide, including AKG. Her work inspired a
pear to be cut up and arranged with a particular
sense of design.
“Composition of circles and Semicircles” 1953
Gouache on paper, 10 x 13 ½” NMWA
Photographer of over 3,000 images of people, crafts
and landscapes the Appalachian Mountains, using
archaic large-format cameras. I was prompted to work
slowly, outdoors in limited color.
“Jason Reed” 1933, a chair
maker from North Carolina,
working wood on the shave
horse.
Dedicated to the Surrealist movement in the 1930’s, an
excellent draftswoman,Varo’s work included distorted
perspectives & unexplained narratives. Her pear floats
within a fragment of her work: “The Creation of Birds”.
“Vagabond” 1957 Oil on
Masonite 22 x 10 5/8 in.
Little known British painter of portraits, flowers
and seascapes, her technique reflected
impressionism. Called the best woman artist of
that time. I bowed to paint her pear with flowers.
Portrait: “ The hon. Mrs. Adams”
Circa 1901 oil on canvas
Vienna born figurative painter, Hausner calls her
work, “human landscapes.” My reaction: to paint a
“still life landscape” using fruit to contrast the
faded landscape.
“Lola” hand-painted lithograph
35 ½ x 45 ¼ in.
A successful British photographer, she dressed her
clients as Mythological Creatures and Goddesses.
So, her pear was donned with jewels, befitting
some mysterious subject.
Lady Dorothy Warrender as
“Ceres”, the ancient Italian CornGoddess. These grain mysteries
were enacted by women only.
( 1887-1968) Marguerite and her husband William
were both devoted to bringing Fauvism to America.
Her pear floats in an abstract combing my figurative
work with her landscape. ( she made me do it!)
She and her husband William would paint on both
sides of a canvas, I enlisted my husband Jim to
paint a fragment of her work to honor them, thus
it is shown with a two sided framing.
I am grateful to the artist I referenced and all
women artist- my predecessors and
contemporaries for their creative impulses
and inspiration. I hope that my efforts and
this series, honor their achievements and
serve as a tribute to them. I intend to
continue this project through more research
into each woman’s life and their work to
further communicate their stories through
lectures, print materials and exhibitions.
Coni Minneci 1950-
Slide 8
From Sofonisba Anguissola to Marguerite Thompson Zorach
26 Still Life Paintings using the Pear as a
Metaphor for their work and their lives.
By Coni Minneci
My awareness of the inequities that have historically plagued
the recognition and accomplishments of women artist
compelled me in 2001 to write a paper entitled “ Women in
Art history: A – Z”, as a part of my studies at Empire College.
A few years later, the painting series was begun. These 26
paintings, created over a period of three years, was the result
of my reflection on the notes and other documentation that I
had gathered, and allowing the work and life of each of these
women to influence me and inspire an original still life
painting. Working with subliminal impulses and intuitive
thought, I conceived each work. Some came easily, and others
were perplexing visual challenges.
A woman renowned in her own time as a portrait
artist. I hid her image within this simple
composition as she hid a woman in her self
portrait. Can you find her?
“Self Portrait at the
Clavichord” 1561
Ahhh, Jennifer, stardom at a young age in the art
circles of America. Symphony of visual poetry,
simplified shapes, rhythm and repetition. A star in
the spotlight.
Detail from “Rhapsody” 1975
This outspoken Feminist artist has written seven
books and is exhibited world wide. I did to the
pear what I believe she thinks the history of art
has done to women.
“The Dinner Party” 1979 Five years in
the making, this installation recognizes the
accomplishments of 39 women in history.
Included in this image are fragments from her
early “Cubist Quilt” art, the thread floats within the
painting, representing three segments of her life:
artist-mother-wife.
A scene form the film “Le p’tit Parigot” (1926) with
costumes by Sonia and paintings on the wall by
Robert.
Her talent was hidden until the death of her
famous artist husband, Thomas Eakins. Color is
limited and an unopened flower is a symbol of
her talent waiting to bloom.
“Two Sisters” 1879 oil on canvas
Successful in the times she lived in, an amazing
figurative painter, she challenged me to try to
paint contrasting textures. This small attempt
tries to honor her.
“Portrait of a Noblewomen” 1580 National
Museum of Women in the Arts, Washington D.C.
A Buffalo artist whose work transcends space and
time. Her pear has floating text, and a small
globe, just a peak into Gordon’s world.
“Presenting Evidence” Albright-Knox Art Gallery
2002, a recreation of Gordon’s studio.
A woman who abandoned Abstract Expressionism
to investigate “Painting Art History. My image is
reactionary to her early works regarding
advertisement in America .
“December Second” 1959 Oil on Canvas
48 x 72 in.
NMWA
Responding to her book: “Juchitan de las Mujeres”, I
painted pears reflecting the strong-willed large bodies
women, the matriarchal community in her photoessay, who preserve their culture and traditions.
Juchitan de las Mujeres 1989 A community in
the far south of Mexico, with Zapotec-influences.
The title “Queen Mother” of African American Art was
bestowed upon her by her students & admirers.
Struggles against prejudice and criticism forced her to
have multiple identities as she grew in her art, so too
the pear.
“Ode to Kinshasa” 1972 Mixed Media on canvas
48 x 63 in. NMWA
Experiments with computer technology led Krause and
two women artists to form “Digital Atlelier”, a
printmakers group online. Forcing me to think another
way, the result has the pear open to new methods and
ideas.
Digital Atelier Exhibit , 2005, New Bedford Art
Museum
Little known Dutch painter, her work has often
been confused with Fans Hals. Her amusing
imagery prompted me to have fun with veggies
and her pear. Note: JL not F H!!
“The Concert” ca. 1633 Oil on Canvas NMWA
Working with wood and real found objects , often
including images of herself, Marisol’s work results
in ambiguous ironic , haunting sculptures, thus
this image with my wooden blocks.
“Women and dog” 1964 Wood, plaster, synthetic
polymer, and various media. Whitney museum of
American Art, NYC
Her figurative work has been described as consistent,
serious and an innovative body of work. Responding to
her encouragement, I included fragments of my “Diva”
series with her pear.
“Charlotte Willard” (detail) 1967, “Mary
Shoemaker” (detail) 1965, “Faith Ringgold” (detail)
1977 New Realism/”slyly psychological portraits”
Yes, the wife of Beatle John Lennon did something
else besides help break up the most popular band
in the world. Her pear floats in mystery.
A detail of Yoko Ono’s “Touch me III,”
2008, pre damage. NYC
Little known Irish painter working in oil, with
influences of Degas in some of her work. As she
did I looked to Degas for guidance .
“Trees by the Dodder” Oil on Canvas
Working in paint & collage, she voices concern for
Indian people & the land that was once theirs.
Sadly, I did to the pear what has been done to her
people.
“I See Red: Snowman,” 1992 oil and mixed media
on canvas. Examines American Indian life in
contrast to the consumerism of American society.
With WNY connections, a world collected artist, her
pear reflects the personal expressionism found in
her work.
“Provenance/ Two-Tone” 1975 Acrylic and
tempera on canvas AKG 60 x 113 in. “Seeking to
reconcile a new interest in imagery with the
vocabulary of abstraction…”
One of the founders of Hallwalls, Buffalo, NY, her
“Untitled Film Series” is in MOMA’s collection. Her pear
sits amidst garbage, in response to her Fairytales and
Disasters Series, Garbage is painted with unexpected
results.
Disaster Series: “Untitled #188” 1989
43 ¼ x 65” Cindy is absent from this
garbled image.
Known for her work in geometric forms, collected
world wide, including AKG. Her work inspired a
pear to be cut up and arranged with a particular
sense of design.
“Composition of circles and Semicircles” 1953
Gouache on paper, 10 x 13 ½” NMWA
Photographer of over 3,000 images of people, crafts
and landscapes the Appalachian Mountains, using
archaic large-format cameras. I was prompted to work
slowly, outdoors in limited color.
“Jason Reed” 1933, a chair
maker from North Carolina,
working wood on the shave
horse.
Dedicated to the Surrealist movement in the 1930’s, an
excellent draftswoman,Varo’s work included distorted
perspectives & unexplained narratives. Her pear floats
within a fragment of her work: “The Creation of Birds”.
“Vagabond” 1957 Oil on
Masonite 22 x 10 5/8 in.
Little known British painter of portraits, flowers
and seascapes, her technique reflected
impressionism. Called the best woman artist of
that time. I bowed to paint her pear with flowers.
Portrait: “ The hon. Mrs. Adams”
Circa 1901 oil on canvas
Vienna born figurative painter, Hausner calls her
work, “human landscapes.” My reaction: to paint a
“still life landscape” using fruit to contrast the
faded landscape.
“Lola” hand-painted lithograph
35 ½ x 45 ¼ in.
A successful British photographer, she dressed her
clients as Mythological Creatures and Goddesses.
So, her pear was donned with jewels, befitting
some mysterious subject.
Lady Dorothy Warrender as
“Ceres”, the ancient Italian CornGoddess. These grain mysteries
were enacted by women only.
( 1887-1968) Marguerite and her husband William
were both devoted to bringing Fauvism to America.
Her pear floats in an abstract combing my figurative
work with her landscape. ( she made me do it!)
She and her husband William would paint on both
sides of a canvas, I enlisted my husband Jim to
paint a fragment of her work to honor them, thus
it is shown with a two sided framing.
I am grateful to the artist I referenced and all
women artist- my predecessors and
contemporaries for their creative impulses
and inspiration. I hope that my efforts and
this series, honor their achievements and
serve as a tribute to them. I intend to
continue this project through more research
into each woman’s life and their work to
further communicate their stories through
lectures, print materials and exhibitions.
Coni Minneci 1950-
Slide 9
From Sofonisba Anguissola to Marguerite Thompson Zorach
26 Still Life Paintings using the Pear as a
Metaphor for their work and their lives.
By Coni Minneci
My awareness of the inequities that have historically plagued
the recognition and accomplishments of women artist
compelled me in 2001 to write a paper entitled “ Women in
Art history: A – Z”, as a part of my studies at Empire College.
A few years later, the painting series was begun. These 26
paintings, created over a period of three years, was the result
of my reflection on the notes and other documentation that I
had gathered, and allowing the work and life of each of these
women to influence me and inspire an original still life
painting. Working with subliminal impulses and intuitive
thought, I conceived each work. Some came easily, and others
were perplexing visual challenges.
A woman renowned in her own time as a portrait
artist. I hid her image within this simple
composition as she hid a woman in her self
portrait. Can you find her?
“Self Portrait at the
Clavichord” 1561
Ahhh, Jennifer, stardom at a young age in the art
circles of America. Symphony of visual poetry,
simplified shapes, rhythm and repetition. A star in
the spotlight.
Detail from “Rhapsody” 1975
This outspoken Feminist artist has written seven
books and is exhibited world wide. I did to the
pear what I believe she thinks the history of art
has done to women.
“The Dinner Party” 1979 Five years in
the making, this installation recognizes the
accomplishments of 39 women in history.
Included in this image are fragments from her
early “Cubist Quilt” art, the thread floats within the
painting, representing three segments of her life:
artist-mother-wife.
A scene form the film “Le p’tit Parigot” (1926) with
costumes by Sonia and paintings on the wall by
Robert.
Her talent was hidden until the death of her
famous artist husband, Thomas Eakins. Color is
limited and an unopened flower is a symbol of
her talent waiting to bloom.
“Two Sisters” 1879 oil on canvas
Successful in the times she lived in, an amazing
figurative painter, she challenged me to try to
paint contrasting textures. This small attempt
tries to honor her.
“Portrait of a Noblewomen” 1580 National
Museum of Women in the Arts, Washington D.C.
A Buffalo artist whose work transcends space and
time. Her pear has floating text, and a small
globe, just a peak into Gordon’s world.
“Presenting Evidence” Albright-Knox Art Gallery
2002, a recreation of Gordon’s studio.
A woman who abandoned Abstract Expressionism
to investigate “Painting Art History. My image is
reactionary to her early works regarding
advertisement in America .
“December Second” 1959 Oil on Canvas
48 x 72 in.
NMWA
Responding to her book: “Juchitan de las Mujeres”, I
painted pears reflecting the strong-willed large bodies
women, the matriarchal community in her photoessay, who preserve their culture and traditions.
Juchitan de las Mujeres 1989 A community in
the far south of Mexico, with Zapotec-influences.
The title “Queen Mother” of African American Art was
bestowed upon her by her students & admirers.
Struggles against prejudice and criticism forced her to
have multiple identities as she grew in her art, so too
the pear.
“Ode to Kinshasa” 1972 Mixed Media on canvas
48 x 63 in. NMWA
Experiments with computer technology led Krause and
two women artists to form “Digital Atlelier”, a
printmakers group online. Forcing me to think another
way, the result has the pear open to new methods and
ideas.
Digital Atelier Exhibit , 2005, New Bedford Art
Museum
Little known Dutch painter, her work has often
been confused with Fans Hals. Her amusing
imagery prompted me to have fun with veggies
and her pear. Note: JL not F H!!
“The Concert” ca. 1633 Oil on Canvas NMWA
Working with wood and real found objects , often
including images of herself, Marisol’s work results
in ambiguous ironic , haunting sculptures, thus
this image with my wooden blocks.
“Women and dog” 1964 Wood, plaster, synthetic
polymer, and various media. Whitney museum of
American Art, NYC
Her figurative work has been described as consistent,
serious and an innovative body of work. Responding to
her encouragement, I included fragments of my “Diva”
series with her pear.
“Charlotte Willard” (detail) 1967, “Mary
Shoemaker” (detail) 1965, “Faith Ringgold” (detail)
1977 New Realism/”slyly psychological portraits”
Yes, the wife of Beatle John Lennon did something
else besides help break up the most popular band
in the world. Her pear floats in mystery.
A detail of Yoko Ono’s “Touch me III,”
2008, pre damage. NYC
Little known Irish painter working in oil, with
influences of Degas in some of her work. As she
did I looked to Degas for guidance .
“Trees by the Dodder” Oil on Canvas
Working in paint & collage, she voices concern for
Indian people & the land that was once theirs.
Sadly, I did to the pear what has been done to her
people.
“I See Red: Snowman,” 1992 oil and mixed media
on canvas. Examines American Indian life in
contrast to the consumerism of American society.
With WNY connections, a world collected artist, her
pear reflects the personal expressionism found in
her work.
“Provenance/ Two-Tone” 1975 Acrylic and
tempera on canvas AKG 60 x 113 in. “Seeking to
reconcile a new interest in imagery with the
vocabulary of abstraction…”
One of the founders of Hallwalls, Buffalo, NY, her
“Untitled Film Series” is in MOMA’s collection. Her pear
sits amidst garbage, in response to her Fairytales and
Disasters Series, Garbage is painted with unexpected
results.
Disaster Series: “Untitled #188” 1989
43 ¼ x 65” Cindy is absent from this
garbled image.
Known for her work in geometric forms, collected
world wide, including AKG. Her work inspired a
pear to be cut up and arranged with a particular
sense of design.
“Composition of circles and Semicircles” 1953
Gouache on paper, 10 x 13 ½” NMWA
Photographer of over 3,000 images of people, crafts
and landscapes the Appalachian Mountains, using
archaic large-format cameras. I was prompted to work
slowly, outdoors in limited color.
“Jason Reed” 1933, a chair
maker from North Carolina,
working wood on the shave
horse.
Dedicated to the Surrealist movement in the 1930’s, an
excellent draftswoman,Varo’s work included distorted
perspectives & unexplained narratives. Her pear floats
within a fragment of her work: “The Creation of Birds”.
“Vagabond” 1957 Oil on
Masonite 22 x 10 5/8 in.
Little known British painter of portraits, flowers
and seascapes, her technique reflected
impressionism. Called the best woman artist of
that time. I bowed to paint her pear with flowers.
Portrait: “ The hon. Mrs. Adams”
Circa 1901 oil on canvas
Vienna born figurative painter, Hausner calls her
work, “human landscapes.” My reaction: to paint a
“still life landscape” using fruit to contrast the
faded landscape.
“Lola” hand-painted lithograph
35 ½ x 45 ¼ in.
A successful British photographer, she dressed her
clients as Mythological Creatures and Goddesses.
So, her pear was donned with jewels, befitting
some mysterious subject.
Lady Dorothy Warrender as
“Ceres”, the ancient Italian CornGoddess. These grain mysteries
were enacted by women only.
( 1887-1968) Marguerite and her husband William
were both devoted to bringing Fauvism to America.
Her pear floats in an abstract combing my figurative
work with her landscape. ( she made me do it!)
She and her husband William would paint on both
sides of a canvas, I enlisted my husband Jim to
paint a fragment of her work to honor them, thus
it is shown with a two sided framing.
I am grateful to the artist I referenced and all
women artist- my predecessors and
contemporaries for their creative impulses
and inspiration. I hope that my efforts and
this series, honor their achievements and
serve as a tribute to them. I intend to
continue this project through more research
into each woman’s life and their work to
further communicate their stories through
lectures, print materials and exhibitions.
Coni Minneci 1950-
Slide 10
From Sofonisba Anguissola to Marguerite Thompson Zorach
26 Still Life Paintings using the Pear as a
Metaphor for their work and their lives.
By Coni Minneci
My awareness of the inequities that have historically plagued
the recognition and accomplishments of women artist
compelled me in 2001 to write a paper entitled “ Women in
Art history: A – Z”, as a part of my studies at Empire College.
A few years later, the painting series was begun. These 26
paintings, created over a period of three years, was the result
of my reflection on the notes and other documentation that I
had gathered, and allowing the work and life of each of these
women to influence me and inspire an original still life
painting. Working with subliminal impulses and intuitive
thought, I conceived each work. Some came easily, and others
were perplexing visual challenges.
A woman renowned in her own time as a portrait
artist. I hid her image within this simple
composition as she hid a woman in her self
portrait. Can you find her?
“Self Portrait at the
Clavichord” 1561
Ahhh, Jennifer, stardom at a young age in the art
circles of America. Symphony of visual poetry,
simplified shapes, rhythm and repetition. A star in
the spotlight.
Detail from “Rhapsody” 1975
This outspoken Feminist artist has written seven
books and is exhibited world wide. I did to the
pear what I believe she thinks the history of art
has done to women.
“The Dinner Party” 1979 Five years in
the making, this installation recognizes the
accomplishments of 39 women in history.
Included in this image are fragments from her
early “Cubist Quilt” art, the thread floats within the
painting, representing three segments of her life:
artist-mother-wife.
A scene form the film “Le p’tit Parigot” (1926) with
costumes by Sonia and paintings on the wall by
Robert.
Her talent was hidden until the death of her
famous artist husband, Thomas Eakins. Color is
limited and an unopened flower is a symbol of
her talent waiting to bloom.
“Two Sisters” 1879 oil on canvas
Successful in the times she lived in, an amazing
figurative painter, she challenged me to try to
paint contrasting textures. This small attempt
tries to honor her.
“Portrait of a Noblewomen” 1580 National
Museum of Women in the Arts, Washington D.C.
A Buffalo artist whose work transcends space and
time. Her pear has floating text, and a small
globe, just a peak into Gordon’s world.
“Presenting Evidence” Albright-Knox Art Gallery
2002, a recreation of Gordon’s studio.
A woman who abandoned Abstract Expressionism
to investigate “Painting Art History. My image is
reactionary to her early works regarding
advertisement in America .
“December Second” 1959 Oil on Canvas
48 x 72 in.
NMWA
Responding to her book: “Juchitan de las Mujeres”, I
painted pears reflecting the strong-willed large bodies
women, the matriarchal community in her photoessay, who preserve their culture and traditions.
Juchitan de las Mujeres 1989 A community in
the far south of Mexico, with Zapotec-influences.
The title “Queen Mother” of African American Art was
bestowed upon her by her students & admirers.
Struggles against prejudice and criticism forced her to
have multiple identities as she grew in her art, so too
the pear.
“Ode to Kinshasa” 1972 Mixed Media on canvas
48 x 63 in. NMWA
Experiments with computer technology led Krause and
two women artists to form “Digital Atlelier”, a
printmakers group online. Forcing me to think another
way, the result has the pear open to new methods and
ideas.
Digital Atelier Exhibit , 2005, New Bedford Art
Museum
Little known Dutch painter, her work has often
been confused with Fans Hals. Her amusing
imagery prompted me to have fun with veggies
and her pear. Note: JL not F H!!
“The Concert” ca. 1633 Oil on Canvas NMWA
Working with wood and real found objects , often
including images of herself, Marisol’s work results
in ambiguous ironic , haunting sculptures, thus
this image with my wooden blocks.
“Women and dog” 1964 Wood, plaster, synthetic
polymer, and various media. Whitney museum of
American Art, NYC
Her figurative work has been described as consistent,
serious and an innovative body of work. Responding to
her encouragement, I included fragments of my “Diva”
series with her pear.
“Charlotte Willard” (detail) 1967, “Mary
Shoemaker” (detail) 1965, “Faith Ringgold” (detail)
1977 New Realism/”slyly psychological portraits”
Yes, the wife of Beatle John Lennon did something
else besides help break up the most popular band
in the world. Her pear floats in mystery.
A detail of Yoko Ono’s “Touch me III,”
2008, pre damage. NYC
Little known Irish painter working in oil, with
influences of Degas in some of her work. As she
did I looked to Degas for guidance .
“Trees by the Dodder” Oil on Canvas
Working in paint & collage, she voices concern for
Indian people & the land that was once theirs.
Sadly, I did to the pear what has been done to her
people.
“I See Red: Snowman,” 1992 oil and mixed media
on canvas. Examines American Indian life in
contrast to the consumerism of American society.
With WNY connections, a world collected artist, her
pear reflects the personal expressionism found in
her work.
“Provenance/ Two-Tone” 1975 Acrylic and
tempera on canvas AKG 60 x 113 in. “Seeking to
reconcile a new interest in imagery with the
vocabulary of abstraction…”
One of the founders of Hallwalls, Buffalo, NY, her
“Untitled Film Series” is in MOMA’s collection. Her pear
sits amidst garbage, in response to her Fairytales and
Disasters Series, Garbage is painted with unexpected
results.
Disaster Series: “Untitled #188” 1989
43 ¼ x 65” Cindy is absent from this
garbled image.
Known for her work in geometric forms, collected
world wide, including AKG. Her work inspired a
pear to be cut up and arranged with a particular
sense of design.
“Composition of circles and Semicircles” 1953
Gouache on paper, 10 x 13 ½” NMWA
Photographer of over 3,000 images of people, crafts
and landscapes the Appalachian Mountains, using
archaic large-format cameras. I was prompted to work
slowly, outdoors in limited color.
“Jason Reed” 1933, a chair
maker from North Carolina,
working wood on the shave
horse.
Dedicated to the Surrealist movement in the 1930’s, an
excellent draftswoman,Varo’s work included distorted
perspectives & unexplained narratives. Her pear floats
within a fragment of her work: “The Creation of Birds”.
“Vagabond” 1957 Oil on
Masonite 22 x 10 5/8 in.
Little known British painter of portraits, flowers
and seascapes, her technique reflected
impressionism. Called the best woman artist of
that time. I bowed to paint her pear with flowers.
Portrait: “ The hon. Mrs. Adams”
Circa 1901 oil on canvas
Vienna born figurative painter, Hausner calls her
work, “human landscapes.” My reaction: to paint a
“still life landscape” using fruit to contrast the
faded landscape.
“Lola” hand-painted lithograph
35 ½ x 45 ¼ in.
A successful British photographer, she dressed her
clients as Mythological Creatures and Goddesses.
So, her pear was donned with jewels, befitting
some mysterious subject.
Lady Dorothy Warrender as
“Ceres”, the ancient Italian CornGoddess. These grain mysteries
were enacted by women only.
( 1887-1968) Marguerite and her husband William
were both devoted to bringing Fauvism to America.
Her pear floats in an abstract combing my figurative
work with her landscape. ( she made me do it!)
She and her husband William would paint on both
sides of a canvas, I enlisted my husband Jim to
paint a fragment of her work to honor them, thus
it is shown with a two sided framing.
I am grateful to the artist I referenced and all
women artist- my predecessors and
contemporaries for their creative impulses
and inspiration. I hope that my efforts and
this series, honor their achievements and
serve as a tribute to them. I intend to
continue this project through more research
into each woman’s life and their work to
further communicate their stories through
lectures, print materials and exhibitions.
Coni Minneci 1950-
Slide 11
From Sofonisba Anguissola to Marguerite Thompson Zorach
26 Still Life Paintings using the Pear as a
Metaphor for their work and their lives.
By Coni Minneci
My awareness of the inequities that have historically plagued
the recognition and accomplishments of women artist
compelled me in 2001 to write a paper entitled “ Women in
Art history: A – Z”, as a part of my studies at Empire College.
A few years later, the painting series was begun. These 26
paintings, created over a period of three years, was the result
of my reflection on the notes and other documentation that I
had gathered, and allowing the work and life of each of these
women to influence me and inspire an original still life
painting. Working with subliminal impulses and intuitive
thought, I conceived each work. Some came easily, and others
were perplexing visual challenges.
A woman renowned in her own time as a portrait
artist. I hid her image within this simple
composition as she hid a woman in her self
portrait. Can you find her?
“Self Portrait at the
Clavichord” 1561
Ahhh, Jennifer, stardom at a young age in the art
circles of America. Symphony of visual poetry,
simplified shapes, rhythm and repetition. A star in
the spotlight.
Detail from “Rhapsody” 1975
This outspoken Feminist artist has written seven
books and is exhibited world wide. I did to the
pear what I believe she thinks the history of art
has done to women.
“The Dinner Party” 1979 Five years in
the making, this installation recognizes the
accomplishments of 39 women in history.
Included in this image are fragments from her
early “Cubist Quilt” art, the thread floats within the
painting, representing three segments of her life:
artist-mother-wife.
A scene form the film “Le p’tit Parigot” (1926) with
costumes by Sonia and paintings on the wall by
Robert.
Her talent was hidden until the death of her
famous artist husband, Thomas Eakins. Color is
limited and an unopened flower is a symbol of
her talent waiting to bloom.
“Two Sisters” 1879 oil on canvas
Successful in the times she lived in, an amazing
figurative painter, she challenged me to try to
paint contrasting textures. This small attempt
tries to honor her.
“Portrait of a Noblewomen” 1580 National
Museum of Women in the Arts, Washington D.C.
A Buffalo artist whose work transcends space and
time. Her pear has floating text, and a small
globe, just a peak into Gordon’s world.
“Presenting Evidence” Albright-Knox Art Gallery
2002, a recreation of Gordon’s studio.
A woman who abandoned Abstract Expressionism
to investigate “Painting Art History. My image is
reactionary to her early works regarding
advertisement in America .
“December Second” 1959 Oil on Canvas
48 x 72 in.
NMWA
Responding to her book: “Juchitan de las Mujeres”, I
painted pears reflecting the strong-willed large bodies
women, the matriarchal community in her photoessay, who preserve their culture and traditions.
Juchitan de las Mujeres 1989 A community in
the far south of Mexico, with Zapotec-influences.
The title “Queen Mother” of African American Art was
bestowed upon her by her students & admirers.
Struggles against prejudice and criticism forced her to
have multiple identities as she grew in her art, so too
the pear.
“Ode to Kinshasa” 1972 Mixed Media on canvas
48 x 63 in. NMWA
Experiments with computer technology led Krause and
two women artists to form “Digital Atlelier”, a
printmakers group online. Forcing me to think another
way, the result has the pear open to new methods and
ideas.
Digital Atelier Exhibit , 2005, New Bedford Art
Museum
Little known Dutch painter, her work has often
been confused with Fans Hals. Her amusing
imagery prompted me to have fun with veggies
and her pear. Note: JL not F H!!
“The Concert” ca. 1633 Oil on Canvas NMWA
Working with wood and real found objects , often
including images of herself, Marisol’s work results
in ambiguous ironic , haunting sculptures, thus
this image with my wooden blocks.
“Women and dog” 1964 Wood, plaster, synthetic
polymer, and various media. Whitney museum of
American Art, NYC
Her figurative work has been described as consistent,
serious and an innovative body of work. Responding to
her encouragement, I included fragments of my “Diva”
series with her pear.
“Charlotte Willard” (detail) 1967, “Mary
Shoemaker” (detail) 1965, “Faith Ringgold” (detail)
1977 New Realism/”slyly psychological portraits”
Yes, the wife of Beatle John Lennon did something
else besides help break up the most popular band
in the world. Her pear floats in mystery.
A detail of Yoko Ono’s “Touch me III,”
2008, pre damage. NYC
Little known Irish painter working in oil, with
influences of Degas in some of her work. As she
did I looked to Degas for guidance .
“Trees by the Dodder” Oil on Canvas
Working in paint & collage, she voices concern for
Indian people & the land that was once theirs.
Sadly, I did to the pear what has been done to her
people.
“I See Red: Snowman,” 1992 oil and mixed media
on canvas. Examines American Indian life in
contrast to the consumerism of American society.
With WNY connections, a world collected artist, her
pear reflects the personal expressionism found in
her work.
“Provenance/ Two-Tone” 1975 Acrylic and
tempera on canvas AKG 60 x 113 in. “Seeking to
reconcile a new interest in imagery with the
vocabulary of abstraction…”
One of the founders of Hallwalls, Buffalo, NY, her
“Untitled Film Series” is in MOMA’s collection. Her pear
sits amidst garbage, in response to her Fairytales and
Disasters Series, Garbage is painted with unexpected
results.
Disaster Series: “Untitled #188” 1989
43 ¼ x 65” Cindy is absent from this
garbled image.
Known for her work in geometric forms, collected
world wide, including AKG. Her work inspired a
pear to be cut up and arranged with a particular
sense of design.
“Composition of circles and Semicircles” 1953
Gouache on paper, 10 x 13 ½” NMWA
Photographer of over 3,000 images of people, crafts
and landscapes the Appalachian Mountains, using
archaic large-format cameras. I was prompted to work
slowly, outdoors in limited color.
“Jason Reed” 1933, a chair
maker from North Carolina,
working wood on the shave
horse.
Dedicated to the Surrealist movement in the 1930’s, an
excellent draftswoman,Varo’s work included distorted
perspectives & unexplained narratives. Her pear floats
within a fragment of her work: “The Creation of Birds”.
“Vagabond” 1957 Oil on
Masonite 22 x 10 5/8 in.
Little known British painter of portraits, flowers
and seascapes, her technique reflected
impressionism. Called the best woman artist of
that time. I bowed to paint her pear with flowers.
Portrait: “ The hon. Mrs. Adams”
Circa 1901 oil on canvas
Vienna born figurative painter, Hausner calls her
work, “human landscapes.” My reaction: to paint a
“still life landscape” using fruit to contrast the
faded landscape.
“Lola” hand-painted lithograph
35 ½ x 45 ¼ in.
A successful British photographer, she dressed her
clients as Mythological Creatures and Goddesses.
So, her pear was donned with jewels, befitting
some mysterious subject.
Lady Dorothy Warrender as
“Ceres”, the ancient Italian CornGoddess. These grain mysteries
were enacted by women only.
( 1887-1968) Marguerite and her husband William
were both devoted to bringing Fauvism to America.
Her pear floats in an abstract combing my figurative
work with her landscape. ( she made me do it!)
She and her husband William would paint on both
sides of a canvas, I enlisted my husband Jim to
paint a fragment of her work to honor them, thus
it is shown with a two sided framing.
I am grateful to the artist I referenced and all
women artist- my predecessors and
contemporaries for their creative impulses
and inspiration. I hope that my efforts and
this series, honor their achievements and
serve as a tribute to them. I intend to
continue this project through more research
into each woman’s life and their work to
further communicate their stories through
lectures, print materials and exhibitions.
Coni Minneci 1950-
Slide 12
From Sofonisba Anguissola to Marguerite Thompson Zorach
26 Still Life Paintings using the Pear as a
Metaphor for their work and their lives.
By Coni Minneci
My awareness of the inequities that have historically plagued
the recognition and accomplishments of women artist
compelled me in 2001 to write a paper entitled “ Women in
Art history: A – Z”, as a part of my studies at Empire College.
A few years later, the painting series was begun. These 26
paintings, created over a period of three years, was the result
of my reflection on the notes and other documentation that I
had gathered, and allowing the work and life of each of these
women to influence me and inspire an original still life
painting. Working with subliminal impulses and intuitive
thought, I conceived each work. Some came easily, and others
were perplexing visual challenges.
A woman renowned in her own time as a portrait
artist. I hid her image within this simple
composition as she hid a woman in her self
portrait. Can you find her?
“Self Portrait at the
Clavichord” 1561
Ahhh, Jennifer, stardom at a young age in the art
circles of America. Symphony of visual poetry,
simplified shapes, rhythm and repetition. A star in
the spotlight.
Detail from “Rhapsody” 1975
This outspoken Feminist artist has written seven
books and is exhibited world wide. I did to the
pear what I believe she thinks the history of art
has done to women.
“The Dinner Party” 1979 Five years in
the making, this installation recognizes the
accomplishments of 39 women in history.
Included in this image are fragments from her
early “Cubist Quilt” art, the thread floats within the
painting, representing three segments of her life:
artist-mother-wife.
A scene form the film “Le p’tit Parigot” (1926) with
costumes by Sonia and paintings on the wall by
Robert.
Her talent was hidden until the death of her
famous artist husband, Thomas Eakins. Color is
limited and an unopened flower is a symbol of
her talent waiting to bloom.
“Two Sisters” 1879 oil on canvas
Successful in the times she lived in, an amazing
figurative painter, she challenged me to try to
paint contrasting textures. This small attempt
tries to honor her.
“Portrait of a Noblewomen” 1580 National
Museum of Women in the Arts, Washington D.C.
A Buffalo artist whose work transcends space and
time. Her pear has floating text, and a small
globe, just a peak into Gordon’s world.
“Presenting Evidence” Albright-Knox Art Gallery
2002, a recreation of Gordon’s studio.
A woman who abandoned Abstract Expressionism
to investigate “Painting Art History. My image is
reactionary to her early works regarding
advertisement in America .
“December Second” 1959 Oil on Canvas
48 x 72 in.
NMWA
Responding to her book: “Juchitan de las Mujeres”, I
painted pears reflecting the strong-willed large bodies
women, the matriarchal community in her photoessay, who preserve their culture and traditions.
Juchitan de las Mujeres 1989 A community in
the far south of Mexico, with Zapotec-influences.
The title “Queen Mother” of African American Art was
bestowed upon her by her students & admirers.
Struggles against prejudice and criticism forced her to
have multiple identities as she grew in her art, so too
the pear.
“Ode to Kinshasa” 1972 Mixed Media on canvas
48 x 63 in. NMWA
Experiments with computer technology led Krause and
two women artists to form “Digital Atlelier”, a
printmakers group online. Forcing me to think another
way, the result has the pear open to new methods and
ideas.
Digital Atelier Exhibit , 2005, New Bedford Art
Museum
Little known Dutch painter, her work has often
been confused with Fans Hals. Her amusing
imagery prompted me to have fun with veggies
and her pear. Note: JL not F H!!
“The Concert” ca. 1633 Oil on Canvas NMWA
Working with wood and real found objects , often
including images of herself, Marisol’s work results
in ambiguous ironic , haunting sculptures, thus
this image with my wooden blocks.
“Women and dog” 1964 Wood, plaster, synthetic
polymer, and various media. Whitney museum of
American Art, NYC
Her figurative work has been described as consistent,
serious and an innovative body of work. Responding to
her encouragement, I included fragments of my “Diva”
series with her pear.
“Charlotte Willard” (detail) 1967, “Mary
Shoemaker” (detail) 1965, “Faith Ringgold” (detail)
1977 New Realism/”slyly psychological portraits”
Yes, the wife of Beatle John Lennon did something
else besides help break up the most popular band
in the world. Her pear floats in mystery.
A detail of Yoko Ono’s “Touch me III,”
2008, pre damage. NYC
Little known Irish painter working in oil, with
influences of Degas in some of her work. As she
did I looked to Degas for guidance .
“Trees by the Dodder” Oil on Canvas
Working in paint & collage, she voices concern for
Indian people & the land that was once theirs.
Sadly, I did to the pear what has been done to her
people.
“I See Red: Snowman,” 1992 oil and mixed media
on canvas. Examines American Indian life in
contrast to the consumerism of American society.
With WNY connections, a world collected artist, her
pear reflects the personal expressionism found in
her work.
“Provenance/ Two-Tone” 1975 Acrylic and
tempera on canvas AKG 60 x 113 in. “Seeking to
reconcile a new interest in imagery with the
vocabulary of abstraction…”
One of the founders of Hallwalls, Buffalo, NY, her
“Untitled Film Series” is in MOMA’s collection. Her pear
sits amidst garbage, in response to her Fairytales and
Disasters Series, Garbage is painted with unexpected
results.
Disaster Series: “Untitled #188” 1989
43 ¼ x 65” Cindy is absent from this
garbled image.
Known for her work in geometric forms, collected
world wide, including AKG. Her work inspired a
pear to be cut up and arranged with a particular
sense of design.
“Composition of circles and Semicircles” 1953
Gouache on paper, 10 x 13 ½” NMWA
Photographer of over 3,000 images of people, crafts
and landscapes the Appalachian Mountains, using
archaic large-format cameras. I was prompted to work
slowly, outdoors in limited color.
“Jason Reed” 1933, a chair
maker from North Carolina,
working wood on the shave
horse.
Dedicated to the Surrealist movement in the 1930’s, an
excellent draftswoman,Varo’s work included distorted
perspectives & unexplained narratives. Her pear floats
within a fragment of her work: “The Creation of Birds”.
“Vagabond” 1957 Oil on
Masonite 22 x 10 5/8 in.
Little known British painter of portraits, flowers
and seascapes, her technique reflected
impressionism. Called the best woman artist of
that time. I bowed to paint her pear with flowers.
Portrait: “ The hon. Mrs. Adams”
Circa 1901 oil on canvas
Vienna born figurative painter, Hausner calls her
work, “human landscapes.” My reaction: to paint a
“still life landscape” using fruit to contrast the
faded landscape.
“Lola” hand-painted lithograph
35 ½ x 45 ¼ in.
A successful British photographer, she dressed her
clients as Mythological Creatures and Goddesses.
So, her pear was donned with jewels, befitting
some mysterious subject.
Lady Dorothy Warrender as
“Ceres”, the ancient Italian CornGoddess. These grain mysteries
were enacted by women only.
( 1887-1968) Marguerite and her husband William
were both devoted to bringing Fauvism to America.
Her pear floats in an abstract combing my figurative
work with her landscape. ( she made me do it!)
She and her husband William would paint on both
sides of a canvas, I enlisted my husband Jim to
paint a fragment of her work to honor them, thus
it is shown with a two sided framing.
I am grateful to the artist I referenced and all
women artist- my predecessors and
contemporaries for their creative impulses
and inspiration. I hope that my efforts and
this series, honor their achievements and
serve as a tribute to them. I intend to
continue this project through more research
into each woman’s life and their work to
further communicate their stories through
lectures, print materials and exhibitions.
Coni Minneci 1950-
Slide 13
From Sofonisba Anguissola to Marguerite Thompson Zorach
26 Still Life Paintings using the Pear as a
Metaphor for their work and their lives.
By Coni Minneci
My awareness of the inequities that have historically plagued
the recognition and accomplishments of women artist
compelled me in 2001 to write a paper entitled “ Women in
Art history: A – Z”, as a part of my studies at Empire College.
A few years later, the painting series was begun. These 26
paintings, created over a period of three years, was the result
of my reflection on the notes and other documentation that I
had gathered, and allowing the work and life of each of these
women to influence me and inspire an original still life
painting. Working with subliminal impulses and intuitive
thought, I conceived each work. Some came easily, and others
were perplexing visual challenges.
A woman renowned in her own time as a portrait
artist. I hid her image within this simple
composition as she hid a woman in her self
portrait. Can you find her?
“Self Portrait at the
Clavichord” 1561
Ahhh, Jennifer, stardom at a young age in the art
circles of America. Symphony of visual poetry,
simplified shapes, rhythm and repetition. A star in
the spotlight.
Detail from “Rhapsody” 1975
This outspoken Feminist artist has written seven
books and is exhibited world wide. I did to the
pear what I believe she thinks the history of art
has done to women.
“The Dinner Party” 1979 Five years in
the making, this installation recognizes the
accomplishments of 39 women in history.
Included in this image are fragments from her
early “Cubist Quilt” art, the thread floats within the
painting, representing three segments of her life:
artist-mother-wife.
A scene form the film “Le p’tit Parigot” (1926) with
costumes by Sonia and paintings on the wall by
Robert.
Her talent was hidden until the death of her
famous artist husband, Thomas Eakins. Color is
limited and an unopened flower is a symbol of
her talent waiting to bloom.
“Two Sisters” 1879 oil on canvas
Successful in the times she lived in, an amazing
figurative painter, she challenged me to try to
paint contrasting textures. This small attempt
tries to honor her.
“Portrait of a Noblewomen” 1580 National
Museum of Women in the Arts, Washington D.C.
A Buffalo artist whose work transcends space and
time. Her pear has floating text, and a small
globe, just a peak into Gordon’s world.
“Presenting Evidence” Albright-Knox Art Gallery
2002, a recreation of Gordon’s studio.
A woman who abandoned Abstract Expressionism
to investigate “Painting Art History. My image is
reactionary to her early works regarding
advertisement in America .
“December Second” 1959 Oil on Canvas
48 x 72 in.
NMWA
Responding to her book: “Juchitan de las Mujeres”, I
painted pears reflecting the strong-willed large bodies
women, the matriarchal community in her photoessay, who preserve their culture and traditions.
Juchitan de las Mujeres 1989 A community in
the far south of Mexico, with Zapotec-influences.
The title “Queen Mother” of African American Art was
bestowed upon her by her students & admirers.
Struggles against prejudice and criticism forced her to
have multiple identities as she grew in her art, so too
the pear.
“Ode to Kinshasa” 1972 Mixed Media on canvas
48 x 63 in. NMWA
Experiments with computer technology led Krause and
two women artists to form “Digital Atlelier”, a
printmakers group online. Forcing me to think another
way, the result has the pear open to new methods and
ideas.
Digital Atelier Exhibit , 2005, New Bedford Art
Museum
Little known Dutch painter, her work has often
been confused with Fans Hals. Her amusing
imagery prompted me to have fun with veggies
and her pear. Note: JL not F H!!
“The Concert” ca. 1633 Oil on Canvas NMWA
Working with wood and real found objects , often
including images of herself, Marisol’s work results
in ambiguous ironic , haunting sculptures, thus
this image with my wooden blocks.
“Women and dog” 1964 Wood, plaster, synthetic
polymer, and various media. Whitney museum of
American Art, NYC
Her figurative work has been described as consistent,
serious and an innovative body of work. Responding to
her encouragement, I included fragments of my “Diva”
series with her pear.
“Charlotte Willard” (detail) 1967, “Mary
Shoemaker” (detail) 1965, “Faith Ringgold” (detail)
1977 New Realism/”slyly psychological portraits”
Yes, the wife of Beatle John Lennon did something
else besides help break up the most popular band
in the world. Her pear floats in mystery.
A detail of Yoko Ono’s “Touch me III,”
2008, pre damage. NYC
Little known Irish painter working in oil, with
influences of Degas in some of her work. As she
did I looked to Degas for guidance .
“Trees by the Dodder” Oil on Canvas
Working in paint & collage, she voices concern for
Indian people & the land that was once theirs.
Sadly, I did to the pear what has been done to her
people.
“I See Red: Snowman,” 1992 oil and mixed media
on canvas. Examines American Indian life in
contrast to the consumerism of American society.
With WNY connections, a world collected artist, her
pear reflects the personal expressionism found in
her work.
“Provenance/ Two-Tone” 1975 Acrylic and
tempera on canvas AKG 60 x 113 in. “Seeking to
reconcile a new interest in imagery with the
vocabulary of abstraction…”
One of the founders of Hallwalls, Buffalo, NY, her
“Untitled Film Series” is in MOMA’s collection. Her pear
sits amidst garbage, in response to her Fairytales and
Disasters Series, Garbage is painted with unexpected
results.
Disaster Series: “Untitled #188” 1989
43 ¼ x 65” Cindy is absent from this
garbled image.
Known for her work in geometric forms, collected
world wide, including AKG. Her work inspired a
pear to be cut up and arranged with a particular
sense of design.
“Composition of circles and Semicircles” 1953
Gouache on paper, 10 x 13 ½” NMWA
Photographer of over 3,000 images of people, crafts
and landscapes the Appalachian Mountains, using
archaic large-format cameras. I was prompted to work
slowly, outdoors in limited color.
“Jason Reed” 1933, a chair
maker from North Carolina,
working wood on the shave
horse.
Dedicated to the Surrealist movement in the 1930’s, an
excellent draftswoman,Varo’s work included distorted
perspectives & unexplained narratives. Her pear floats
within a fragment of her work: “The Creation of Birds”.
“Vagabond” 1957 Oil on
Masonite 22 x 10 5/8 in.
Little known British painter of portraits, flowers
and seascapes, her technique reflected
impressionism. Called the best woman artist of
that time. I bowed to paint her pear with flowers.
Portrait: “ The hon. Mrs. Adams”
Circa 1901 oil on canvas
Vienna born figurative painter, Hausner calls her
work, “human landscapes.” My reaction: to paint a
“still life landscape” using fruit to contrast the
faded landscape.
“Lola” hand-painted lithograph
35 ½ x 45 ¼ in.
A successful British photographer, she dressed her
clients as Mythological Creatures and Goddesses.
So, her pear was donned with jewels, befitting
some mysterious subject.
Lady Dorothy Warrender as
“Ceres”, the ancient Italian CornGoddess. These grain mysteries
were enacted by women only.
( 1887-1968) Marguerite and her husband William
were both devoted to bringing Fauvism to America.
Her pear floats in an abstract combing my figurative
work with her landscape. ( she made me do it!)
She and her husband William would paint on both
sides of a canvas, I enlisted my husband Jim to
paint a fragment of her work to honor them, thus
it is shown with a two sided framing.
I am grateful to the artist I referenced and all
women artist- my predecessors and
contemporaries for their creative impulses
and inspiration. I hope that my efforts and
this series, honor their achievements and
serve as a tribute to them. I intend to
continue this project through more research
into each woman’s life and their work to
further communicate their stories through
lectures, print materials and exhibitions.
Coni Minneci 1950-
Slide 14
From Sofonisba Anguissola to Marguerite Thompson Zorach
26 Still Life Paintings using the Pear as a
Metaphor for their work and their lives.
By Coni Minneci
My awareness of the inequities that have historically plagued
the recognition and accomplishments of women artist
compelled me in 2001 to write a paper entitled “ Women in
Art history: A – Z”, as a part of my studies at Empire College.
A few years later, the painting series was begun. These 26
paintings, created over a period of three years, was the result
of my reflection on the notes and other documentation that I
had gathered, and allowing the work and life of each of these
women to influence me and inspire an original still life
painting. Working with subliminal impulses and intuitive
thought, I conceived each work. Some came easily, and others
were perplexing visual challenges.
A woman renowned in her own time as a portrait
artist. I hid her image within this simple
composition as she hid a woman in her self
portrait. Can you find her?
“Self Portrait at the
Clavichord” 1561
Ahhh, Jennifer, stardom at a young age in the art
circles of America. Symphony of visual poetry,
simplified shapes, rhythm and repetition. A star in
the spotlight.
Detail from “Rhapsody” 1975
This outspoken Feminist artist has written seven
books and is exhibited world wide. I did to the
pear what I believe she thinks the history of art
has done to women.
“The Dinner Party” 1979 Five years in
the making, this installation recognizes the
accomplishments of 39 women in history.
Included in this image are fragments from her
early “Cubist Quilt” art, the thread floats within the
painting, representing three segments of her life:
artist-mother-wife.
A scene form the film “Le p’tit Parigot” (1926) with
costumes by Sonia and paintings on the wall by
Robert.
Her talent was hidden until the death of her
famous artist husband, Thomas Eakins. Color is
limited and an unopened flower is a symbol of
her talent waiting to bloom.
“Two Sisters” 1879 oil on canvas
Successful in the times she lived in, an amazing
figurative painter, she challenged me to try to
paint contrasting textures. This small attempt
tries to honor her.
“Portrait of a Noblewomen” 1580 National
Museum of Women in the Arts, Washington D.C.
A Buffalo artist whose work transcends space and
time. Her pear has floating text, and a small
globe, just a peak into Gordon’s world.
“Presenting Evidence” Albright-Knox Art Gallery
2002, a recreation of Gordon’s studio.
A woman who abandoned Abstract Expressionism
to investigate “Painting Art History. My image is
reactionary to her early works regarding
advertisement in America .
“December Second” 1959 Oil on Canvas
48 x 72 in.
NMWA
Responding to her book: “Juchitan de las Mujeres”, I
painted pears reflecting the strong-willed large bodies
women, the matriarchal community in her photoessay, who preserve their culture and traditions.
Juchitan de las Mujeres 1989 A community in
the far south of Mexico, with Zapotec-influences.
The title “Queen Mother” of African American Art was
bestowed upon her by her students & admirers.
Struggles against prejudice and criticism forced her to
have multiple identities as she grew in her art, so too
the pear.
“Ode to Kinshasa” 1972 Mixed Media on canvas
48 x 63 in. NMWA
Experiments with computer technology led Krause and
two women artists to form “Digital Atlelier”, a
printmakers group online. Forcing me to think another
way, the result has the pear open to new methods and
ideas.
Digital Atelier Exhibit , 2005, New Bedford Art
Museum
Little known Dutch painter, her work has often
been confused with Fans Hals. Her amusing
imagery prompted me to have fun with veggies
and her pear. Note: JL not F H!!
“The Concert” ca. 1633 Oil on Canvas NMWA
Working with wood and real found objects , often
including images of herself, Marisol’s work results
in ambiguous ironic , haunting sculptures, thus
this image with my wooden blocks.
“Women and dog” 1964 Wood, plaster, synthetic
polymer, and various media. Whitney museum of
American Art, NYC
Her figurative work has been described as consistent,
serious and an innovative body of work. Responding to
her encouragement, I included fragments of my “Diva”
series with her pear.
“Charlotte Willard” (detail) 1967, “Mary
Shoemaker” (detail) 1965, “Faith Ringgold” (detail)
1977 New Realism/”slyly psychological portraits”
Yes, the wife of Beatle John Lennon did something
else besides help break up the most popular band
in the world. Her pear floats in mystery.
A detail of Yoko Ono’s “Touch me III,”
2008, pre damage. NYC
Little known Irish painter working in oil, with
influences of Degas in some of her work. As she
did I looked to Degas for guidance .
“Trees by the Dodder” Oil on Canvas
Working in paint & collage, she voices concern for
Indian people & the land that was once theirs.
Sadly, I did to the pear what has been done to her
people.
“I See Red: Snowman,” 1992 oil and mixed media
on canvas. Examines American Indian life in
contrast to the consumerism of American society.
With WNY connections, a world collected artist, her
pear reflects the personal expressionism found in
her work.
“Provenance/ Two-Tone” 1975 Acrylic and
tempera on canvas AKG 60 x 113 in. “Seeking to
reconcile a new interest in imagery with the
vocabulary of abstraction…”
One of the founders of Hallwalls, Buffalo, NY, her
“Untitled Film Series” is in MOMA’s collection. Her pear
sits amidst garbage, in response to her Fairytales and
Disasters Series, Garbage is painted with unexpected
results.
Disaster Series: “Untitled #188” 1989
43 ¼ x 65” Cindy is absent from this
garbled image.
Known for her work in geometric forms, collected
world wide, including AKG. Her work inspired a
pear to be cut up and arranged with a particular
sense of design.
“Composition of circles and Semicircles” 1953
Gouache on paper, 10 x 13 ½” NMWA
Photographer of over 3,000 images of people, crafts
and landscapes the Appalachian Mountains, using
archaic large-format cameras. I was prompted to work
slowly, outdoors in limited color.
“Jason Reed” 1933, a chair
maker from North Carolina,
working wood on the shave
horse.
Dedicated to the Surrealist movement in the 1930’s, an
excellent draftswoman,Varo’s work included distorted
perspectives & unexplained narratives. Her pear floats
within a fragment of her work: “The Creation of Birds”.
“Vagabond” 1957 Oil on
Masonite 22 x 10 5/8 in.
Little known British painter of portraits, flowers
and seascapes, her technique reflected
impressionism. Called the best woman artist of
that time. I bowed to paint her pear with flowers.
Portrait: “ The hon. Mrs. Adams”
Circa 1901 oil on canvas
Vienna born figurative painter, Hausner calls her
work, “human landscapes.” My reaction: to paint a
“still life landscape” using fruit to contrast the
faded landscape.
“Lola” hand-painted lithograph
35 ½ x 45 ¼ in.
A successful British photographer, she dressed her
clients as Mythological Creatures and Goddesses.
So, her pear was donned with jewels, befitting
some mysterious subject.
Lady Dorothy Warrender as
“Ceres”, the ancient Italian CornGoddess. These grain mysteries
were enacted by women only.
( 1887-1968) Marguerite and her husband William
were both devoted to bringing Fauvism to America.
Her pear floats in an abstract combing my figurative
work with her landscape. ( she made me do it!)
She and her husband William would paint on both
sides of a canvas, I enlisted my husband Jim to
paint a fragment of her work to honor them, thus
it is shown with a two sided framing.
I am grateful to the artist I referenced and all
women artist- my predecessors and
contemporaries for their creative impulses
and inspiration. I hope that my efforts and
this series, honor their achievements and
serve as a tribute to them. I intend to
continue this project through more research
into each woman’s life and their work to
further communicate their stories through
lectures, print materials and exhibitions.
Coni Minneci 1950-
Slide 15
From Sofonisba Anguissola to Marguerite Thompson Zorach
26 Still Life Paintings using the Pear as a
Metaphor for their work and their lives.
By Coni Minneci
My awareness of the inequities that have historically plagued
the recognition and accomplishments of women artist
compelled me in 2001 to write a paper entitled “ Women in
Art history: A – Z”, as a part of my studies at Empire College.
A few years later, the painting series was begun. These 26
paintings, created over a period of three years, was the result
of my reflection on the notes and other documentation that I
had gathered, and allowing the work and life of each of these
women to influence me and inspire an original still life
painting. Working with subliminal impulses and intuitive
thought, I conceived each work. Some came easily, and others
were perplexing visual challenges.
A woman renowned in her own time as a portrait
artist. I hid her image within this simple
composition as she hid a woman in her self
portrait. Can you find her?
“Self Portrait at the
Clavichord” 1561
Ahhh, Jennifer, stardom at a young age in the art
circles of America. Symphony of visual poetry,
simplified shapes, rhythm and repetition. A star in
the spotlight.
Detail from “Rhapsody” 1975
This outspoken Feminist artist has written seven
books and is exhibited world wide. I did to the
pear what I believe she thinks the history of art
has done to women.
“The Dinner Party” 1979 Five years in
the making, this installation recognizes the
accomplishments of 39 women in history.
Included in this image are fragments from her
early “Cubist Quilt” art, the thread floats within the
painting, representing three segments of her life:
artist-mother-wife.
A scene form the film “Le p’tit Parigot” (1926) with
costumes by Sonia and paintings on the wall by
Robert.
Her talent was hidden until the death of her
famous artist husband, Thomas Eakins. Color is
limited and an unopened flower is a symbol of
her talent waiting to bloom.
“Two Sisters” 1879 oil on canvas
Successful in the times she lived in, an amazing
figurative painter, she challenged me to try to
paint contrasting textures. This small attempt
tries to honor her.
“Portrait of a Noblewomen” 1580 National
Museum of Women in the Arts, Washington D.C.
A Buffalo artist whose work transcends space and
time. Her pear has floating text, and a small
globe, just a peak into Gordon’s world.
“Presenting Evidence” Albright-Knox Art Gallery
2002, a recreation of Gordon’s studio.
A woman who abandoned Abstract Expressionism
to investigate “Painting Art History. My image is
reactionary to her early works regarding
advertisement in America .
“December Second” 1959 Oil on Canvas
48 x 72 in.
NMWA
Responding to her book: “Juchitan de las Mujeres”, I
painted pears reflecting the strong-willed large bodies
women, the matriarchal community in her photoessay, who preserve their culture and traditions.
Juchitan de las Mujeres 1989 A community in
the far south of Mexico, with Zapotec-influences.
The title “Queen Mother” of African American Art was
bestowed upon her by her students & admirers.
Struggles against prejudice and criticism forced her to
have multiple identities as she grew in her art, so too
the pear.
“Ode to Kinshasa” 1972 Mixed Media on canvas
48 x 63 in. NMWA
Experiments with computer technology led Krause and
two women artists to form “Digital Atlelier”, a
printmakers group online. Forcing me to think another
way, the result has the pear open to new methods and
ideas.
Digital Atelier Exhibit , 2005, New Bedford Art
Museum
Little known Dutch painter, her work has often
been confused with Fans Hals. Her amusing
imagery prompted me to have fun with veggies
and her pear. Note: JL not F H!!
“The Concert” ca. 1633 Oil on Canvas NMWA
Working with wood and real found objects , often
including images of herself, Marisol’s work results
in ambiguous ironic , haunting sculptures, thus
this image with my wooden blocks.
“Women and dog” 1964 Wood, plaster, synthetic
polymer, and various media. Whitney museum of
American Art, NYC
Her figurative work has been described as consistent,
serious and an innovative body of work. Responding to
her encouragement, I included fragments of my “Diva”
series with her pear.
“Charlotte Willard” (detail) 1967, “Mary
Shoemaker” (detail) 1965, “Faith Ringgold” (detail)
1977 New Realism/”slyly psychological portraits”
Yes, the wife of Beatle John Lennon did something
else besides help break up the most popular band
in the world. Her pear floats in mystery.
A detail of Yoko Ono’s “Touch me III,”
2008, pre damage. NYC
Little known Irish painter working in oil, with
influences of Degas in some of her work. As she
did I looked to Degas for guidance .
“Trees by the Dodder” Oil on Canvas
Working in paint & collage, she voices concern for
Indian people & the land that was once theirs.
Sadly, I did to the pear what has been done to her
people.
“I See Red: Snowman,” 1992 oil and mixed media
on canvas. Examines American Indian life in
contrast to the consumerism of American society.
With WNY connections, a world collected artist, her
pear reflects the personal expressionism found in
her work.
“Provenance/ Two-Tone” 1975 Acrylic and
tempera on canvas AKG 60 x 113 in. “Seeking to
reconcile a new interest in imagery with the
vocabulary of abstraction…”
One of the founders of Hallwalls, Buffalo, NY, her
“Untitled Film Series” is in MOMA’s collection. Her pear
sits amidst garbage, in response to her Fairytales and
Disasters Series, Garbage is painted with unexpected
results.
Disaster Series: “Untitled #188” 1989
43 ¼ x 65” Cindy is absent from this
garbled image.
Known for her work in geometric forms, collected
world wide, including AKG. Her work inspired a
pear to be cut up and arranged with a particular
sense of design.
“Composition of circles and Semicircles” 1953
Gouache on paper, 10 x 13 ½” NMWA
Photographer of over 3,000 images of people, crafts
and landscapes the Appalachian Mountains, using
archaic large-format cameras. I was prompted to work
slowly, outdoors in limited color.
“Jason Reed” 1933, a chair
maker from North Carolina,
working wood on the shave
horse.
Dedicated to the Surrealist movement in the 1930’s, an
excellent draftswoman,Varo’s work included distorted
perspectives & unexplained narratives. Her pear floats
within a fragment of her work: “The Creation of Birds”.
“Vagabond” 1957 Oil on
Masonite 22 x 10 5/8 in.
Little known British painter of portraits, flowers
and seascapes, her technique reflected
impressionism. Called the best woman artist of
that time. I bowed to paint her pear with flowers.
Portrait: “ The hon. Mrs. Adams”
Circa 1901 oil on canvas
Vienna born figurative painter, Hausner calls her
work, “human landscapes.” My reaction: to paint a
“still life landscape” using fruit to contrast the
faded landscape.
“Lola” hand-painted lithograph
35 ½ x 45 ¼ in.
A successful British photographer, she dressed her
clients as Mythological Creatures and Goddesses.
So, her pear was donned with jewels, befitting
some mysterious subject.
Lady Dorothy Warrender as
“Ceres”, the ancient Italian CornGoddess. These grain mysteries
were enacted by women only.
( 1887-1968) Marguerite and her husband William
were both devoted to bringing Fauvism to America.
Her pear floats in an abstract combing my figurative
work with her landscape. ( she made me do it!)
She and her husband William would paint on both
sides of a canvas, I enlisted my husband Jim to
paint a fragment of her work to honor them, thus
it is shown with a two sided framing.
I am grateful to the artist I referenced and all
women artist- my predecessors and
contemporaries for their creative impulses
and inspiration. I hope that my efforts and
this series, honor their achievements and
serve as a tribute to them. I intend to
continue this project through more research
into each woman’s life and their work to
further communicate their stories through
lectures, print materials and exhibitions.
Coni Minneci 1950-
Slide 16
From Sofonisba Anguissola to Marguerite Thompson Zorach
26 Still Life Paintings using the Pear as a
Metaphor for their work and their lives.
By Coni Minneci
My awareness of the inequities that have historically plagued
the recognition and accomplishments of women artist
compelled me in 2001 to write a paper entitled “ Women in
Art history: A – Z”, as a part of my studies at Empire College.
A few years later, the painting series was begun. These 26
paintings, created over a period of three years, was the result
of my reflection on the notes and other documentation that I
had gathered, and allowing the work and life of each of these
women to influence me and inspire an original still life
painting. Working with subliminal impulses and intuitive
thought, I conceived each work. Some came easily, and others
were perplexing visual challenges.
A woman renowned in her own time as a portrait
artist. I hid her image within this simple
composition as she hid a woman in her self
portrait. Can you find her?
“Self Portrait at the
Clavichord” 1561
Ahhh, Jennifer, stardom at a young age in the art
circles of America. Symphony of visual poetry,
simplified shapes, rhythm and repetition. A star in
the spotlight.
Detail from “Rhapsody” 1975
This outspoken Feminist artist has written seven
books and is exhibited world wide. I did to the
pear what I believe she thinks the history of art
has done to women.
“The Dinner Party” 1979 Five years in
the making, this installation recognizes the
accomplishments of 39 women in history.
Included in this image are fragments from her
early “Cubist Quilt” art, the thread floats within the
painting, representing three segments of her life:
artist-mother-wife.
A scene form the film “Le p’tit Parigot” (1926) with
costumes by Sonia and paintings on the wall by
Robert.
Her talent was hidden until the death of her
famous artist husband, Thomas Eakins. Color is
limited and an unopened flower is a symbol of
her talent waiting to bloom.
“Two Sisters” 1879 oil on canvas
Successful in the times she lived in, an amazing
figurative painter, she challenged me to try to
paint contrasting textures. This small attempt
tries to honor her.
“Portrait of a Noblewomen” 1580 National
Museum of Women in the Arts, Washington D.C.
A Buffalo artist whose work transcends space and
time. Her pear has floating text, and a small
globe, just a peak into Gordon’s world.
“Presenting Evidence” Albright-Knox Art Gallery
2002, a recreation of Gordon’s studio.
A woman who abandoned Abstract Expressionism
to investigate “Painting Art History. My image is
reactionary to her early works regarding
advertisement in America .
“December Second” 1959 Oil on Canvas
48 x 72 in.
NMWA
Responding to her book: “Juchitan de las Mujeres”, I
painted pears reflecting the strong-willed large bodies
women, the matriarchal community in her photoessay, who preserve their culture and traditions.
Juchitan de las Mujeres 1989 A community in
the far south of Mexico, with Zapotec-influences.
The title “Queen Mother” of African American Art was
bestowed upon her by her students & admirers.
Struggles against prejudice and criticism forced her to
have multiple identities as she grew in her art, so too
the pear.
“Ode to Kinshasa” 1972 Mixed Media on canvas
48 x 63 in. NMWA
Experiments with computer technology led Krause and
two women artists to form “Digital Atlelier”, a
printmakers group online. Forcing me to think another
way, the result has the pear open to new methods and
ideas.
Digital Atelier Exhibit , 2005, New Bedford Art
Museum
Little known Dutch painter, her work has often
been confused with Fans Hals. Her amusing
imagery prompted me to have fun with veggies
and her pear. Note: JL not F H!!
“The Concert” ca. 1633 Oil on Canvas NMWA
Working with wood and real found objects , often
including images of herself, Marisol’s work results
in ambiguous ironic , haunting sculptures, thus
this image with my wooden blocks.
“Women and dog” 1964 Wood, plaster, synthetic
polymer, and various media. Whitney museum of
American Art, NYC
Her figurative work has been described as consistent,
serious and an innovative body of work. Responding to
her encouragement, I included fragments of my “Diva”
series with her pear.
“Charlotte Willard” (detail) 1967, “Mary
Shoemaker” (detail) 1965, “Faith Ringgold” (detail)
1977 New Realism/”slyly psychological portraits”
Yes, the wife of Beatle John Lennon did something
else besides help break up the most popular band
in the world. Her pear floats in mystery.
A detail of Yoko Ono’s “Touch me III,”
2008, pre damage. NYC
Little known Irish painter working in oil, with
influences of Degas in some of her work. As she
did I looked to Degas for guidance .
“Trees by the Dodder” Oil on Canvas
Working in paint & collage, she voices concern for
Indian people & the land that was once theirs.
Sadly, I did to the pear what has been done to her
people.
“I See Red: Snowman,” 1992 oil and mixed media
on canvas. Examines American Indian life in
contrast to the consumerism of American society.
With WNY connections, a world collected artist, her
pear reflects the personal expressionism found in
her work.
“Provenance/ Two-Tone” 1975 Acrylic and
tempera on canvas AKG 60 x 113 in. “Seeking to
reconcile a new interest in imagery with the
vocabulary of abstraction…”
One of the founders of Hallwalls, Buffalo, NY, her
“Untitled Film Series” is in MOMA’s collection. Her pear
sits amidst garbage, in response to her Fairytales and
Disasters Series, Garbage is painted with unexpected
results.
Disaster Series: “Untitled #188” 1989
43 ¼ x 65” Cindy is absent from this
garbled image.
Known for her work in geometric forms, collected
world wide, including AKG. Her work inspired a
pear to be cut up and arranged with a particular
sense of design.
“Composition of circles and Semicircles” 1953
Gouache on paper, 10 x 13 ½” NMWA
Photographer of over 3,000 images of people, crafts
and landscapes the Appalachian Mountains, using
archaic large-format cameras. I was prompted to work
slowly, outdoors in limited color.
“Jason Reed” 1933, a chair
maker from North Carolina,
working wood on the shave
horse.
Dedicated to the Surrealist movement in the 1930’s, an
excellent draftswoman,Varo’s work included distorted
perspectives & unexplained narratives. Her pear floats
within a fragment of her work: “The Creation of Birds”.
“Vagabond” 1957 Oil on
Masonite 22 x 10 5/8 in.
Little known British painter of portraits, flowers
and seascapes, her technique reflected
impressionism. Called the best woman artist of
that time. I bowed to paint her pear with flowers.
Portrait: “ The hon. Mrs. Adams”
Circa 1901 oil on canvas
Vienna born figurative painter, Hausner calls her
work, “human landscapes.” My reaction: to paint a
“still life landscape” using fruit to contrast the
faded landscape.
“Lola” hand-painted lithograph
35 ½ x 45 ¼ in.
A successful British photographer, she dressed her
clients as Mythological Creatures and Goddesses.
So, her pear was donned with jewels, befitting
some mysterious subject.
Lady Dorothy Warrender as
“Ceres”, the ancient Italian CornGoddess. These grain mysteries
were enacted by women only.
( 1887-1968) Marguerite and her husband William
were both devoted to bringing Fauvism to America.
Her pear floats in an abstract combing my figurative
work with her landscape. ( she made me do it!)
She and her husband William would paint on both
sides of a canvas, I enlisted my husband Jim to
paint a fragment of her work to honor them, thus
it is shown with a two sided framing.
I am grateful to the artist I referenced and all
women artist- my predecessors and
contemporaries for their creative impulses
and inspiration. I hope that my efforts and
this series, honor their achievements and
serve as a tribute to them. I intend to
continue this project through more research
into each woman’s life and their work to
further communicate their stories through
lectures, print materials and exhibitions.
Coni Minneci 1950-
Slide 17
From Sofonisba Anguissola to Marguerite Thompson Zorach
26 Still Life Paintings using the Pear as a
Metaphor for their work and their lives.
By Coni Minneci
My awareness of the inequities that have historically plagued
the recognition and accomplishments of women artist
compelled me in 2001 to write a paper entitled “ Women in
Art history: A – Z”, as a part of my studies at Empire College.
A few years later, the painting series was begun. These 26
paintings, created over a period of three years, was the result
of my reflection on the notes and other documentation that I
had gathered, and allowing the work and life of each of these
women to influence me and inspire an original still life
painting. Working with subliminal impulses and intuitive
thought, I conceived each work. Some came easily, and others
were perplexing visual challenges.
A woman renowned in her own time as a portrait
artist. I hid her image within this simple
composition as she hid a woman in her self
portrait. Can you find her?
“Self Portrait at the
Clavichord” 1561
Ahhh, Jennifer, stardom at a young age in the art
circles of America. Symphony of visual poetry,
simplified shapes, rhythm and repetition. A star in
the spotlight.
Detail from “Rhapsody” 1975
This outspoken Feminist artist has written seven
books and is exhibited world wide. I did to the
pear what I believe she thinks the history of art
has done to women.
“The Dinner Party” 1979 Five years in
the making, this installation recognizes the
accomplishments of 39 women in history.
Included in this image are fragments from her
early “Cubist Quilt” art, the thread floats within the
painting, representing three segments of her life:
artist-mother-wife.
A scene form the film “Le p’tit Parigot” (1926) with
costumes by Sonia and paintings on the wall by
Robert.
Her talent was hidden until the death of her
famous artist husband, Thomas Eakins. Color is
limited and an unopened flower is a symbol of
her talent waiting to bloom.
“Two Sisters” 1879 oil on canvas
Successful in the times she lived in, an amazing
figurative painter, she challenged me to try to
paint contrasting textures. This small attempt
tries to honor her.
“Portrait of a Noblewomen” 1580 National
Museum of Women in the Arts, Washington D.C.
A Buffalo artist whose work transcends space and
time. Her pear has floating text, and a small
globe, just a peak into Gordon’s world.
“Presenting Evidence” Albright-Knox Art Gallery
2002, a recreation of Gordon’s studio.
A woman who abandoned Abstract Expressionism
to investigate “Painting Art History. My image is
reactionary to her early works regarding
advertisement in America .
“December Second” 1959 Oil on Canvas
48 x 72 in.
NMWA
Responding to her book: “Juchitan de las Mujeres”, I
painted pears reflecting the strong-willed large bodies
women, the matriarchal community in her photoessay, who preserve their culture and traditions.
Juchitan de las Mujeres 1989 A community in
the far south of Mexico, with Zapotec-influences.
The title “Queen Mother” of African American Art was
bestowed upon her by her students & admirers.
Struggles against prejudice and criticism forced her to
have multiple identities as she grew in her art, so too
the pear.
“Ode to Kinshasa” 1972 Mixed Media on canvas
48 x 63 in. NMWA
Experiments with computer technology led Krause and
two women artists to form “Digital Atlelier”, a
printmakers group online. Forcing me to think another
way, the result has the pear open to new methods and
ideas.
Digital Atelier Exhibit , 2005, New Bedford Art
Museum
Little known Dutch painter, her work has often
been confused with Fans Hals. Her amusing
imagery prompted me to have fun with veggies
and her pear. Note: JL not F H!!
“The Concert” ca. 1633 Oil on Canvas NMWA
Working with wood and real found objects , often
including images of herself, Marisol’s work results
in ambiguous ironic , haunting sculptures, thus
this image with my wooden blocks.
“Women and dog” 1964 Wood, plaster, synthetic
polymer, and various media. Whitney museum of
American Art, NYC
Her figurative work has been described as consistent,
serious and an innovative body of work. Responding to
her encouragement, I included fragments of my “Diva”
series with her pear.
“Charlotte Willard” (detail) 1967, “Mary
Shoemaker” (detail) 1965, “Faith Ringgold” (detail)
1977 New Realism/”slyly psychological portraits”
Yes, the wife of Beatle John Lennon did something
else besides help break up the most popular band
in the world. Her pear floats in mystery.
A detail of Yoko Ono’s “Touch me III,”
2008, pre damage. NYC
Little known Irish painter working in oil, with
influences of Degas in some of her work. As she
did I looked to Degas for guidance .
“Trees by the Dodder” Oil on Canvas
Working in paint & collage, she voices concern for
Indian people & the land that was once theirs.
Sadly, I did to the pear what has been done to her
people.
“I See Red: Snowman,” 1992 oil and mixed media
on canvas. Examines American Indian life in
contrast to the consumerism of American society.
With WNY connections, a world collected artist, her
pear reflects the personal expressionism found in
her work.
“Provenance/ Two-Tone” 1975 Acrylic and
tempera on canvas AKG 60 x 113 in. “Seeking to
reconcile a new interest in imagery with the
vocabulary of abstraction…”
One of the founders of Hallwalls, Buffalo, NY, her
“Untitled Film Series” is in MOMA’s collection. Her pear
sits amidst garbage, in response to her Fairytales and
Disasters Series, Garbage is painted with unexpected
results.
Disaster Series: “Untitled #188” 1989
43 ¼ x 65” Cindy is absent from this
garbled image.
Known for her work in geometric forms, collected
world wide, including AKG. Her work inspired a
pear to be cut up and arranged with a particular
sense of design.
“Composition of circles and Semicircles” 1953
Gouache on paper, 10 x 13 ½” NMWA
Photographer of over 3,000 images of people, crafts
and landscapes the Appalachian Mountains, using
archaic large-format cameras. I was prompted to work
slowly, outdoors in limited color.
“Jason Reed” 1933, a chair
maker from North Carolina,
working wood on the shave
horse.
Dedicated to the Surrealist movement in the 1930’s, an
excellent draftswoman,Varo’s work included distorted
perspectives & unexplained narratives. Her pear floats
within a fragment of her work: “The Creation of Birds”.
“Vagabond” 1957 Oil on
Masonite 22 x 10 5/8 in.
Little known British painter of portraits, flowers
and seascapes, her technique reflected
impressionism. Called the best woman artist of
that time. I bowed to paint her pear with flowers.
Portrait: “ The hon. Mrs. Adams”
Circa 1901 oil on canvas
Vienna born figurative painter, Hausner calls her
work, “human landscapes.” My reaction: to paint a
“still life landscape” using fruit to contrast the
faded landscape.
“Lola” hand-painted lithograph
35 ½ x 45 ¼ in.
A successful British photographer, she dressed her
clients as Mythological Creatures and Goddesses.
So, her pear was donned with jewels, befitting
some mysterious subject.
Lady Dorothy Warrender as
“Ceres”, the ancient Italian CornGoddess. These grain mysteries
were enacted by women only.
( 1887-1968) Marguerite and her husband William
were both devoted to bringing Fauvism to America.
Her pear floats in an abstract combing my figurative
work with her landscape. ( she made me do it!)
She and her husband William would paint on both
sides of a canvas, I enlisted my husband Jim to
paint a fragment of her work to honor them, thus
it is shown with a two sided framing.
I am grateful to the artist I referenced and all
women artist- my predecessors and
contemporaries for their creative impulses
and inspiration. I hope that my efforts and
this series, honor their achievements and
serve as a tribute to them. I intend to
continue this project through more research
into each woman’s life and their work to
further communicate their stories through
lectures, print materials and exhibitions.
Coni Minneci 1950-
Slide 18
From Sofonisba Anguissola to Marguerite Thompson Zorach
26 Still Life Paintings using the Pear as a
Metaphor for their work and their lives.
By Coni Minneci
My awareness of the inequities that have historically plagued
the recognition and accomplishments of women artist
compelled me in 2001 to write a paper entitled “ Women in
Art history: A – Z”, as a part of my studies at Empire College.
A few years later, the painting series was begun. These 26
paintings, created over a period of three years, was the result
of my reflection on the notes and other documentation that I
had gathered, and allowing the work and life of each of these
women to influence me and inspire an original still life
painting. Working with subliminal impulses and intuitive
thought, I conceived each work. Some came easily, and others
were perplexing visual challenges.
A woman renowned in her own time as a portrait
artist. I hid her image within this simple
composition as she hid a woman in her self
portrait. Can you find her?
“Self Portrait at the
Clavichord” 1561
Ahhh, Jennifer, stardom at a young age in the art
circles of America. Symphony of visual poetry,
simplified shapes, rhythm and repetition. A star in
the spotlight.
Detail from “Rhapsody” 1975
This outspoken Feminist artist has written seven
books and is exhibited world wide. I did to the
pear what I believe she thinks the history of art
has done to women.
“The Dinner Party” 1979 Five years in
the making, this installation recognizes the
accomplishments of 39 women in history.
Included in this image are fragments from her
early “Cubist Quilt” art, the thread floats within the
painting, representing three segments of her life:
artist-mother-wife.
A scene form the film “Le p’tit Parigot” (1926) with
costumes by Sonia and paintings on the wall by
Robert.
Her talent was hidden until the death of her
famous artist husband, Thomas Eakins. Color is
limited and an unopened flower is a symbol of
her talent waiting to bloom.
“Two Sisters” 1879 oil on canvas
Successful in the times she lived in, an amazing
figurative painter, she challenged me to try to
paint contrasting textures. This small attempt
tries to honor her.
“Portrait of a Noblewomen” 1580 National
Museum of Women in the Arts, Washington D.C.
A Buffalo artist whose work transcends space and
time. Her pear has floating text, and a small
globe, just a peak into Gordon’s world.
“Presenting Evidence” Albright-Knox Art Gallery
2002, a recreation of Gordon’s studio.
A woman who abandoned Abstract Expressionism
to investigate “Painting Art History. My image is
reactionary to her early works regarding
advertisement in America .
“December Second” 1959 Oil on Canvas
48 x 72 in.
NMWA
Responding to her book: “Juchitan de las Mujeres”, I
painted pears reflecting the strong-willed large bodies
women, the matriarchal community in her photoessay, who preserve their culture and traditions.
Juchitan de las Mujeres 1989 A community in
the far south of Mexico, with Zapotec-influences.
The title “Queen Mother” of African American Art was
bestowed upon her by her students & admirers.
Struggles against prejudice and criticism forced her to
have multiple identities as she grew in her art, so too
the pear.
“Ode to Kinshasa” 1972 Mixed Media on canvas
48 x 63 in. NMWA
Experiments with computer technology led Krause and
two women artists to form “Digital Atlelier”, a
printmakers group online. Forcing me to think another
way, the result has the pear open to new methods and
ideas.
Digital Atelier Exhibit , 2005, New Bedford Art
Museum
Little known Dutch painter, her work has often
been confused with Fans Hals. Her amusing
imagery prompted me to have fun with veggies
and her pear. Note: JL not F H!!
“The Concert” ca. 1633 Oil on Canvas NMWA
Working with wood and real found objects , often
including images of herself, Marisol’s work results
in ambiguous ironic , haunting sculptures, thus
this image with my wooden blocks.
“Women and dog” 1964 Wood, plaster, synthetic
polymer, and various media. Whitney museum of
American Art, NYC
Her figurative work has been described as consistent,
serious and an innovative body of work. Responding to
her encouragement, I included fragments of my “Diva”
series with her pear.
“Charlotte Willard” (detail) 1967, “Mary
Shoemaker” (detail) 1965, “Faith Ringgold” (detail)
1977 New Realism/”slyly psychological portraits”
Yes, the wife of Beatle John Lennon did something
else besides help break up the most popular band
in the world. Her pear floats in mystery.
A detail of Yoko Ono’s “Touch me III,”
2008, pre damage. NYC
Little known Irish painter working in oil, with
influences of Degas in some of her work. As she
did I looked to Degas for guidance .
“Trees by the Dodder” Oil on Canvas
Working in paint & collage, she voices concern for
Indian people & the land that was once theirs.
Sadly, I did to the pear what has been done to her
people.
“I See Red: Snowman,” 1992 oil and mixed media
on canvas. Examines American Indian life in
contrast to the consumerism of American society.
With WNY connections, a world collected artist, her
pear reflects the personal expressionism found in
her work.
“Provenance/ Two-Tone” 1975 Acrylic and
tempera on canvas AKG 60 x 113 in. “Seeking to
reconcile a new interest in imagery with the
vocabulary of abstraction…”
One of the founders of Hallwalls, Buffalo, NY, her
“Untitled Film Series” is in MOMA’s collection. Her pear
sits amidst garbage, in response to her Fairytales and
Disasters Series, Garbage is painted with unexpected
results.
Disaster Series: “Untitled #188” 1989
43 ¼ x 65” Cindy is absent from this
garbled image.
Known for her work in geometric forms, collected
world wide, including AKG. Her work inspired a
pear to be cut up and arranged with a particular
sense of design.
“Composition of circles and Semicircles” 1953
Gouache on paper, 10 x 13 ½” NMWA
Photographer of over 3,000 images of people, crafts
and landscapes the Appalachian Mountains, using
archaic large-format cameras. I was prompted to work
slowly, outdoors in limited color.
“Jason Reed” 1933, a chair
maker from North Carolina,
working wood on the shave
horse.
Dedicated to the Surrealist movement in the 1930’s, an
excellent draftswoman,Varo’s work included distorted
perspectives & unexplained narratives. Her pear floats
within a fragment of her work: “The Creation of Birds”.
“Vagabond” 1957 Oil on
Masonite 22 x 10 5/8 in.
Little known British painter of portraits, flowers
and seascapes, her technique reflected
impressionism. Called the best woman artist of
that time. I bowed to paint her pear with flowers.
Portrait: “ The hon. Mrs. Adams”
Circa 1901 oil on canvas
Vienna born figurative painter, Hausner calls her
work, “human landscapes.” My reaction: to paint a
“still life landscape” using fruit to contrast the
faded landscape.
“Lola” hand-painted lithograph
35 ½ x 45 ¼ in.
A successful British photographer, she dressed her
clients as Mythological Creatures and Goddesses.
So, her pear was donned with jewels, befitting
some mysterious subject.
Lady Dorothy Warrender as
“Ceres”, the ancient Italian CornGoddess. These grain mysteries
were enacted by women only.
( 1887-1968) Marguerite and her husband William
were both devoted to bringing Fauvism to America.
Her pear floats in an abstract combing my figurative
work with her landscape. ( she made me do it!)
She and her husband William would paint on both
sides of a canvas, I enlisted my husband Jim to
paint a fragment of her work to honor them, thus
it is shown with a two sided framing.
I am grateful to the artist I referenced and all
women artist- my predecessors and
contemporaries for their creative impulses
and inspiration. I hope that my efforts and
this series, honor their achievements and
serve as a tribute to them. I intend to
continue this project through more research
into each woman’s life and their work to
further communicate their stories through
lectures, print materials and exhibitions.
Coni Minneci 1950-
Slide 19
From Sofonisba Anguissola to Marguerite Thompson Zorach
26 Still Life Paintings using the Pear as a
Metaphor for their work and their lives.
By Coni Minneci
My awareness of the inequities that have historically plagued
the recognition and accomplishments of women artist
compelled me in 2001 to write a paper entitled “ Women in
Art history: A – Z”, as a part of my studies at Empire College.
A few years later, the painting series was begun. These 26
paintings, created over a period of three years, was the result
of my reflection on the notes and other documentation that I
had gathered, and allowing the work and life of each of these
women to influence me and inspire an original still life
painting. Working with subliminal impulses and intuitive
thought, I conceived each work. Some came easily, and others
were perplexing visual challenges.
A woman renowned in her own time as a portrait
artist. I hid her image within this simple
composition as she hid a woman in her self
portrait. Can you find her?
“Self Portrait at the
Clavichord” 1561
Ahhh, Jennifer, stardom at a young age in the art
circles of America. Symphony of visual poetry,
simplified shapes, rhythm and repetition. A star in
the spotlight.
Detail from “Rhapsody” 1975
This outspoken Feminist artist has written seven
books and is exhibited world wide. I did to the
pear what I believe she thinks the history of art
has done to women.
“The Dinner Party” 1979 Five years in
the making, this installation recognizes the
accomplishments of 39 women in history.
Included in this image are fragments from her
early “Cubist Quilt” art, the thread floats within the
painting, representing three segments of her life:
artist-mother-wife.
A scene form the film “Le p’tit Parigot” (1926) with
costumes by Sonia and paintings on the wall by
Robert.
Her talent was hidden until the death of her
famous artist husband, Thomas Eakins. Color is
limited and an unopened flower is a symbol of
her talent waiting to bloom.
“Two Sisters” 1879 oil on canvas
Successful in the times she lived in, an amazing
figurative painter, she challenged me to try to
paint contrasting textures. This small attempt
tries to honor her.
“Portrait of a Noblewomen” 1580 National
Museum of Women in the Arts, Washington D.C.
A Buffalo artist whose work transcends space and
time. Her pear has floating text, and a small
globe, just a peak into Gordon’s world.
“Presenting Evidence” Albright-Knox Art Gallery
2002, a recreation of Gordon’s studio.
A woman who abandoned Abstract Expressionism
to investigate “Painting Art History. My image is
reactionary to her early works regarding
advertisement in America .
“December Second” 1959 Oil on Canvas
48 x 72 in.
NMWA
Responding to her book: “Juchitan de las Mujeres”, I
painted pears reflecting the strong-willed large bodies
women, the matriarchal community in her photoessay, who preserve their culture and traditions.
Juchitan de las Mujeres 1989 A community in
the far south of Mexico, with Zapotec-influences.
The title “Queen Mother” of African American Art was
bestowed upon her by her students & admirers.
Struggles against prejudice and criticism forced her to
have multiple identities as she grew in her art, so too
the pear.
“Ode to Kinshasa” 1972 Mixed Media on canvas
48 x 63 in. NMWA
Experiments with computer technology led Krause and
two women artists to form “Digital Atlelier”, a
printmakers group online. Forcing me to think another
way, the result has the pear open to new methods and
ideas.
Digital Atelier Exhibit , 2005, New Bedford Art
Museum
Little known Dutch painter, her work has often
been confused with Fans Hals. Her amusing
imagery prompted me to have fun with veggies
and her pear. Note: JL not F H!!
“The Concert” ca. 1633 Oil on Canvas NMWA
Working with wood and real found objects , often
including images of herself, Marisol’s work results
in ambiguous ironic , haunting sculptures, thus
this image with my wooden blocks.
“Women and dog” 1964 Wood, plaster, synthetic
polymer, and various media. Whitney museum of
American Art, NYC
Her figurative work has been described as consistent,
serious and an innovative body of work. Responding to
her encouragement, I included fragments of my “Diva”
series with her pear.
“Charlotte Willard” (detail) 1967, “Mary
Shoemaker” (detail) 1965, “Faith Ringgold” (detail)
1977 New Realism/”slyly psychological portraits”
Yes, the wife of Beatle John Lennon did something
else besides help break up the most popular band
in the world. Her pear floats in mystery.
A detail of Yoko Ono’s “Touch me III,”
2008, pre damage. NYC
Little known Irish painter working in oil, with
influences of Degas in some of her work. As she
did I looked to Degas for guidance .
“Trees by the Dodder” Oil on Canvas
Working in paint & collage, she voices concern for
Indian people & the land that was once theirs.
Sadly, I did to the pear what has been done to her
people.
“I See Red: Snowman,” 1992 oil and mixed media
on canvas. Examines American Indian life in
contrast to the consumerism of American society.
With WNY connections, a world collected artist, her
pear reflects the personal expressionism found in
her work.
“Provenance/ Two-Tone” 1975 Acrylic and
tempera on canvas AKG 60 x 113 in. “Seeking to
reconcile a new interest in imagery with the
vocabulary of abstraction…”
One of the founders of Hallwalls, Buffalo, NY, her
“Untitled Film Series” is in MOMA’s collection. Her pear
sits amidst garbage, in response to her Fairytales and
Disasters Series, Garbage is painted with unexpected
results.
Disaster Series: “Untitled #188” 1989
43 ¼ x 65” Cindy is absent from this
garbled image.
Known for her work in geometric forms, collected
world wide, including AKG. Her work inspired a
pear to be cut up and arranged with a particular
sense of design.
“Composition of circles and Semicircles” 1953
Gouache on paper, 10 x 13 ½” NMWA
Photographer of over 3,000 images of people, crafts
and landscapes the Appalachian Mountains, using
archaic large-format cameras. I was prompted to work
slowly, outdoors in limited color.
“Jason Reed” 1933, a chair
maker from North Carolina,
working wood on the shave
horse.
Dedicated to the Surrealist movement in the 1930’s, an
excellent draftswoman,Varo’s work included distorted
perspectives & unexplained narratives. Her pear floats
within a fragment of her work: “The Creation of Birds”.
“Vagabond” 1957 Oil on
Masonite 22 x 10 5/8 in.
Little known British painter of portraits, flowers
and seascapes, her technique reflected
impressionism. Called the best woman artist of
that time. I bowed to paint her pear with flowers.
Portrait: “ The hon. Mrs. Adams”
Circa 1901 oil on canvas
Vienna born figurative painter, Hausner calls her
work, “human landscapes.” My reaction: to paint a
“still life landscape” using fruit to contrast the
faded landscape.
“Lola” hand-painted lithograph
35 ½ x 45 ¼ in.
A successful British photographer, she dressed her
clients as Mythological Creatures and Goddesses.
So, her pear was donned with jewels, befitting
some mysterious subject.
Lady Dorothy Warrender as
“Ceres”, the ancient Italian CornGoddess. These grain mysteries
were enacted by women only.
( 1887-1968) Marguerite and her husband William
were both devoted to bringing Fauvism to America.
Her pear floats in an abstract combing my figurative
work with her landscape. ( she made me do it!)
She and her husband William would paint on both
sides of a canvas, I enlisted my husband Jim to
paint a fragment of her work to honor them, thus
it is shown with a two sided framing.
I am grateful to the artist I referenced and all
women artist- my predecessors and
contemporaries for their creative impulses
and inspiration. I hope that my efforts and
this series, honor their achievements and
serve as a tribute to them. I intend to
continue this project through more research
into each woman’s life and their work to
further communicate their stories through
lectures, print materials and exhibitions.
Coni Minneci 1950-
Slide 20
From Sofonisba Anguissola to Marguerite Thompson Zorach
26 Still Life Paintings using the Pear as a
Metaphor for their work and their lives.
By Coni Minneci
My awareness of the inequities that have historically plagued
the recognition and accomplishments of women artist
compelled me in 2001 to write a paper entitled “ Women in
Art history: A – Z”, as a part of my studies at Empire College.
A few years later, the painting series was begun. These 26
paintings, created over a period of three years, was the result
of my reflection on the notes and other documentation that I
had gathered, and allowing the work and life of each of these
women to influence me and inspire an original still life
painting. Working with subliminal impulses and intuitive
thought, I conceived each work. Some came easily, and others
were perplexing visual challenges.
A woman renowned in her own time as a portrait
artist. I hid her image within this simple
composition as she hid a woman in her self
portrait. Can you find her?
“Self Portrait at the
Clavichord” 1561
Ahhh, Jennifer, stardom at a young age in the art
circles of America. Symphony of visual poetry,
simplified shapes, rhythm and repetition. A star in
the spotlight.
Detail from “Rhapsody” 1975
This outspoken Feminist artist has written seven
books and is exhibited world wide. I did to the
pear what I believe she thinks the history of art
has done to women.
“The Dinner Party” 1979 Five years in
the making, this installation recognizes the
accomplishments of 39 women in history.
Included in this image are fragments from her
early “Cubist Quilt” art, the thread floats within the
painting, representing three segments of her life:
artist-mother-wife.
A scene form the film “Le p’tit Parigot” (1926) with
costumes by Sonia and paintings on the wall by
Robert.
Her talent was hidden until the death of her
famous artist husband, Thomas Eakins. Color is
limited and an unopened flower is a symbol of
her talent waiting to bloom.
“Two Sisters” 1879 oil on canvas
Successful in the times she lived in, an amazing
figurative painter, she challenged me to try to
paint contrasting textures. This small attempt
tries to honor her.
“Portrait of a Noblewomen” 1580 National
Museum of Women in the Arts, Washington D.C.
A Buffalo artist whose work transcends space and
time. Her pear has floating text, and a small
globe, just a peak into Gordon’s world.
“Presenting Evidence” Albright-Knox Art Gallery
2002, a recreation of Gordon’s studio.
A woman who abandoned Abstract Expressionism
to investigate “Painting Art History. My image is
reactionary to her early works regarding
advertisement in America .
“December Second” 1959 Oil on Canvas
48 x 72 in.
NMWA
Responding to her book: “Juchitan de las Mujeres”, I
painted pears reflecting the strong-willed large bodies
women, the matriarchal community in her photoessay, who preserve their culture and traditions.
Juchitan de las Mujeres 1989 A community in
the far south of Mexico, with Zapotec-influences.
The title “Queen Mother” of African American Art was
bestowed upon her by her students & admirers.
Struggles against prejudice and criticism forced her to
have multiple identities as she grew in her art, so too
the pear.
“Ode to Kinshasa” 1972 Mixed Media on canvas
48 x 63 in. NMWA
Experiments with computer technology led Krause and
two women artists to form “Digital Atlelier”, a
printmakers group online. Forcing me to think another
way, the result has the pear open to new methods and
ideas.
Digital Atelier Exhibit , 2005, New Bedford Art
Museum
Little known Dutch painter, her work has often
been confused with Fans Hals. Her amusing
imagery prompted me to have fun with veggies
and her pear. Note: JL not F H!!
“The Concert” ca. 1633 Oil on Canvas NMWA
Working with wood and real found objects , often
including images of herself, Marisol’s work results
in ambiguous ironic , haunting sculptures, thus
this image with my wooden blocks.
“Women and dog” 1964 Wood, plaster, synthetic
polymer, and various media. Whitney museum of
American Art, NYC
Her figurative work has been described as consistent,
serious and an innovative body of work. Responding to
her encouragement, I included fragments of my “Diva”
series with her pear.
“Charlotte Willard” (detail) 1967, “Mary
Shoemaker” (detail) 1965, “Faith Ringgold” (detail)
1977 New Realism/”slyly psychological portraits”
Yes, the wife of Beatle John Lennon did something
else besides help break up the most popular band
in the world. Her pear floats in mystery.
A detail of Yoko Ono’s “Touch me III,”
2008, pre damage. NYC
Little known Irish painter working in oil, with
influences of Degas in some of her work. As she
did I looked to Degas for guidance .
“Trees by the Dodder” Oil on Canvas
Working in paint & collage, she voices concern for
Indian people & the land that was once theirs.
Sadly, I did to the pear what has been done to her
people.
“I See Red: Snowman,” 1992 oil and mixed media
on canvas. Examines American Indian life in
contrast to the consumerism of American society.
With WNY connections, a world collected artist, her
pear reflects the personal expressionism found in
her work.
“Provenance/ Two-Tone” 1975 Acrylic and
tempera on canvas AKG 60 x 113 in. “Seeking to
reconcile a new interest in imagery with the
vocabulary of abstraction…”
One of the founders of Hallwalls, Buffalo, NY, her
“Untitled Film Series” is in MOMA’s collection. Her pear
sits amidst garbage, in response to her Fairytales and
Disasters Series, Garbage is painted with unexpected
results.
Disaster Series: “Untitled #188” 1989
43 ¼ x 65” Cindy is absent from this
garbled image.
Known for her work in geometric forms, collected
world wide, including AKG. Her work inspired a
pear to be cut up and arranged with a particular
sense of design.
“Composition of circles and Semicircles” 1953
Gouache on paper, 10 x 13 ½” NMWA
Photographer of over 3,000 images of people, crafts
and landscapes the Appalachian Mountains, using
archaic large-format cameras. I was prompted to work
slowly, outdoors in limited color.
“Jason Reed” 1933, a chair
maker from North Carolina,
working wood on the shave
horse.
Dedicated to the Surrealist movement in the 1930’s, an
excellent draftswoman,Varo’s work included distorted
perspectives & unexplained narratives. Her pear floats
within a fragment of her work: “The Creation of Birds”.
“Vagabond” 1957 Oil on
Masonite 22 x 10 5/8 in.
Little known British painter of portraits, flowers
and seascapes, her technique reflected
impressionism. Called the best woman artist of
that time. I bowed to paint her pear with flowers.
Portrait: “ The hon. Mrs. Adams”
Circa 1901 oil on canvas
Vienna born figurative painter, Hausner calls her
work, “human landscapes.” My reaction: to paint a
“still life landscape” using fruit to contrast the
faded landscape.
“Lola” hand-painted lithograph
35 ½ x 45 ¼ in.
A successful British photographer, she dressed her
clients as Mythological Creatures and Goddesses.
So, her pear was donned with jewels, befitting
some mysterious subject.
Lady Dorothy Warrender as
“Ceres”, the ancient Italian CornGoddess. These grain mysteries
were enacted by women only.
( 1887-1968) Marguerite and her husband William
were both devoted to bringing Fauvism to America.
Her pear floats in an abstract combing my figurative
work with her landscape. ( she made me do it!)
She and her husband William would paint on both
sides of a canvas, I enlisted my husband Jim to
paint a fragment of her work to honor them, thus
it is shown with a two sided framing.
I am grateful to the artist I referenced and all
women artist- my predecessors and
contemporaries for their creative impulses
and inspiration. I hope that my efforts and
this series, honor their achievements and
serve as a tribute to them. I intend to
continue this project through more research
into each woman’s life and their work to
further communicate their stories through
lectures, print materials and exhibitions.
Coni Minneci 1950-
Slide 21
From Sofonisba Anguissola to Marguerite Thompson Zorach
26 Still Life Paintings using the Pear as a
Metaphor for their work and their lives.
By Coni Minneci
My awareness of the inequities that have historically plagued
the recognition and accomplishments of women artist
compelled me in 2001 to write a paper entitled “ Women in
Art history: A – Z”, as a part of my studies at Empire College.
A few years later, the painting series was begun. These 26
paintings, created over a period of three years, was the result
of my reflection on the notes and other documentation that I
had gathered, and allowing the work and life of each of these
women to influence me and inspire an original still life
painting. Working with subliminal impulses and intuitive
thought, I conceived each work. Some came easily, and others
were perplexing visual challenges.
A woman renowned in her own time as a portrait
artist. I hid her image within this simple
composition as she hid a woman in her self
portrait. Can you find her?
“Self Portrait at the
Clavichord” 1561
Ahhh, Jennifer, stardom at a young age in the art
circles of America. Symphony of visual poetry,
simplified shapes, rhythm and repetition. A star in
the spotlight.
Detail from “Rhapsody” 1975
This outspoken Feminist artist has written seven
books and is exhibited world wide. I did to the
pear what I believe she thinks the history of art
has done to women.
“The Dinner Party” 1979 Five years in
the making, this installation recognizes the
accomplishments of 39 women in history.
Included in this image are fragments from her
early “Cubist Quilt” art, the thread floats within the
painting, representing three segments of her life:
artist-mother-wife.
A scene form the film “Le p’tit Parigot” (1926) with
costumes by Sonia and paintings on the wall by
Robert.
Her talent was hidden until the death of her
famous artist husband, Thomas Eakins. Color is
limited and an unopened flower is a symbol of
her talent waiting to bloom.
“Two Sisters” 1879 oil on canvas
Successful in the times she lived in, an amazing
figurative painter, she challenged me to try to
paint contrasting textures. This small attempt
tries to honor her.
“Portrait of a Noblewomen” 1580 National
Museum of Women in the Arts, Washington D.C.
A Buffalo artist whose work transcends space and
time. Her pear has floating text, and a small
globe, just a peak into Gordon’s world.
“Presenting Evidence” Albright-Knox Art Gallery
2002, a recreation of Gordon’s studio.
A woman who abandoned Abstract Expressionism
to investigate “Painting Art History. My image is
reactionary to her early works regarding
advertisement in America .
“December Second” 1959 Oil on Canvas
48 x 72 in.
NMWA
Responding to her book: “Juchitan de las Mujeres”, I
painted pears reflecting the strong-willed large bodies
women, the matriarchal community in her photoessay, who preserve their culture and traditions.
Juchitan de las Mujeres 1989 A community in
the far south of Mexico, with Zapotec-influences.
The title “Queen Mother” of African American Art was
bestowed upon her by her students & admirers.
Struggles against prejudice and criticism forced her to
have multiple identities as she grew in her art, so too
the pear.
“Ode to Kinshasa” 1972 Mixed Media on canvas
48 x 63 in. NMWA
Experiments with computer technology led Krause and
two women artists to form “Digital Atlelier”, a
printmakers group online. Forcing me to think another
way, the result has the pear open to new methods and
ideas.
Digital Atelier Exhibit , 2005, New Bedford Art
Museum
Little known Dutch painter, her work has often
been confused with Fans Hals. Her amusing
imagery prompted me to have fun with veggies
and her pear. Note: JL not F H!!
“The Concert” ca. 1633 Oil on Canvas NMWA
Working with wood and real found objects , often
including images of herself, Marisol’s work results
in ambiguous ironic , haunting sculptures, thus
this image with my wooden blocks.
“Women and dog” 1964 Wood, plaster, synthetic
polymer, and various media. Whitney museum of
American Art, NYC
Her figurative work has been described as consistent,
serious and an innovative body of work. Responding to
her encouragement, I included fragments of my “Diva”
series with her pear.
“Charlotte Willard” (detail) 1967, “Mary
Shoemaker” (detail) 1965, “Faith Ringgold” (detail)
1977 New Realism/”slyly psychological portraits”
Yes, the wife of Beatle John Lennon did something
else besides help break up the most popular band
in the world. Her pear floats in mystery.
A detail of Yoko Ono’s “Touch me III,”
2008, pre damage. NYC
Little known Irish painter working in oil, with
influences of Degas in some of her work. As she
did I looked to Degas for guidance .
“Trees by the Dodder” Oil on Canvas
Working in paint & collage, she voices concern for
Indian people & the land that was once theirs.
Sadly, I did to the pear what has been done to her
people.
“I See Red: Snowman,” 1992 oil and mixed media
on canvas. Examines American Indian life in
contrast to the consumerism of American society.
With WNY connections, a world collected artist, her
pear reflects the personal expressionism found in
her work.
“Provenance/ Two-Tone” 1975 Acrylic and
tempera on canvas AKG 60 x 113 in. “Seeking to
reconcile a new interest in imagery with the
vocabulary of abstraction…”
One of the founders of Hallwalls, Buffalo, NY, her
“Untitled Film Series” is in MOMA’s collection. Her pear
sits amidst garbage, in response to her Fairytales and
Disasters Series, Garbage is painted with unexpected
results.
Disaster Series: “Untitled #188” 1989
43 ¼ x 65” Cindy is absent from this
garbled image.
Known for her work in geometric forms, collected
world wide, including AKG. Her work inspired a
pear to be cut up and arranged with a particular
sense of design.
“Composition of circles and Semicircles” 1953
Gouache on paper, 10 x 13 ½” NMWA
Photographer of over 3,000 images of people, crafts
and landscapes the Appalachian Mountains, using
archaic large-format cameras. I was prompted to work
slowly, outdoors in limited color.
“Jason Reed” 1933, a chair
maker from North Carolina,
working wood on the shave
horse.
Dedicated to the Surrealist movement in the 1930’s, an
excellent draftswoman,Varo’s work included distorted
perspectives & unexplained narratives. Her pear floats
within a fragment of her work: “The Creation of Birds”.
“Vagabond” 1957 Oil on
Masonite 22 x 10 5/8 in.
Little known British painter of portraits, flowers
and seascapes, her technique reflected
impressionism. Called the best woman artist of
that time. I bowed to paint her pear with flowers.
Portrait: “ The hon. Mrs. Adams”
Circa 1901 oil on canvas
Vienna born figurative painter, Hausner calls her
work, “human landscapes.” My reaction: to paint a
“still life landscape” using fruit to contrast the
faded landscape.
“Lola” hand-painted lithograph
35 ½ x 45 ¼ in.
A successful British photographer, she dressed her
clients as Mythological Creatures and Goddesses.
So, her pear was donned with jewels, befitting
some mysterious subject.
Lady Dorothy Warrender as
“Ceres”, the ancient Italian CornGoddess. These grain mysteries
were enacted by women only.
( 1887-1968) Marguerite and her husband William
were both devoted to bringing Fauvism to America.
Her pear floats in an abstract combing my figurative
work with her landscape. ( she made me do it!)
She and her husband William would paint on both
sides of a canvas, I enlisted my husband Jim to
paint a fragment of her work to honor them, thus
it is shown with a two sided framing.
I am grateful to the artist I referenced and all
women artist- my predecessors and
contemporaries for their creative impulses
and inspiration. I hope that my efforts and
this series, honor their achievements and
serve as a tribute to them. I intend to
continue this project through more research
into each woman’s life and their work to
further communicate their stories through
lectures, print materials and exhibitions.
Coni Minneci 1950-
Slide 22
From Sofonisba Anguissola to Marguerite Thompson Zorach
26 Still Life Paintings using the Pear as a
Metaphor for their work and their lives.
By Coni Minneci
My awareness of the inequities that have historically plagued
the recognition and accomplishments of women artist
compelled me in 2001 to write a paper entitled “ Women in
Art history: A – Z”, as a part of my studies at Empire College.
A few years later, the painting series was begun. These 26
paintings, created over a period of three years, was the result
of my reflection on the notes and other documentation that I
had gathered, and allowing the work and life of each of these
women to influence me and inspire an original still life
painting. Working with subliminal impulses and intuitive
thought, I conceived each work. Some came easily, and others
were perplexing visual challenges.
A woman renowned in her own time as a portrait
artist. I hid her image within this simple
composition as she hid a woman in her self
portrait. Can you find her?
“Self Portrait at the
Clavichord” 1561
Ahhh, Jennifer, stardom at a young age in the art
circles of America. Symphony of visual poetry,
simplified shapes, rhythm and repetition. A star in
the spotlight.
Detail from “Rhapsody” 1975
This outspoken Feminist artist has written seven
books and is exhibited world wide. I did to the
pear what I believe she thinks the history of art
has done to women.
“The Dinner Party” 1979 Five years in
the making, this installation recognizes the
accomplishments of 39 women in history.
Included in this image are fragments from her
early “Cubist Quilt” art, the thread floats within the
painting, representing three segments of her life:
artist-mother-wife.
A scene form the film “Le p’tit Parigot” (1926) with
costumes by Sonia and paintings on the wall by
Robert.
Her talent was hidden until the death of her
famous artist husband, Thomas Eakins. Color is
limited and an unopened flower is a symbol of
her talent waiting to bloom.
“Two Sisters” 1879 oil on canvas
Successful in the times she lived in, an amazing
figurative painter, she challenged me to try to
paint contrasting textures. This small attempt
tries to honor her.
“Portrait of a Noblewomen” 1580 National
Museum of Women in the Arts, Washington D.C.
A Buffalo artist whose work transcends space and
time. Her pear has floating text, and a small
globe, just a peak into Gordon’s world.
“Presenting Evidence” Albright-Knox Art Gallery
2002, a recreation of Gordon’s studio.
A woman who abandoned Abstract Expressionism
to investigate “Painting Art History. My image is
reactionary to her early works regarding
advertisement in America .
“December Second” 1959 Oil on Canvas
48 x 72 in.
NMWA
Responding to her book: “Juchitan de las Mujeres”, I
painted pears reflecting the strong-willed large bodies
women, the matriarchal community in her photoessay, who preserve their culture and traditions.
Juchitan de las Mujeres 1989 A community in
the far south of Mexico, with Zapotec-influences.
The title “Queen Mother” of African American Art was
bestowed upon her by her students & admirers.
Struggles against prejudice and criticism forced her to
have multiple identities as she grew in her art, so too
the pear.
“Ode to Kinshasa” 1972 Mixed Media on canvas
48 x 63 in. NMWA
Experiments with computer technology led Krause and
two women artists to form “Digital Atlelier”, a
printmakers group online. Forcing me to think another
way, the result has the pear open to new methods and
ideas.
Digital Atelier Exhibit , 2005, New Bedford Art
Museum
Little known Dutch painter, her work has often
been confused with Fans Hals. Her amusing
imagery prompted me to have fun with veggies
and her pear. Note: JL not F H!!
“The Concert” ca. 1633 Oil on Canvas NMWA
Working with wood and real found objects , often
including images of herself, Marisol’s work results
in ambiguous ironic , haunting sculptures, thus
this image with my wooden blocks.
“Women and dog” 1964 Wood, plaster, synthetic
polymer, and various media. Whitney museum of
American Art, NYC
Her figurative work has been described as consistent,
serious and an innovative body of work. Responding to
her encouragement, I included fragments of my “Diva”
series with her pear.
“Charlotte Willard” (detail) 1967, “Mary
Shoemaker” (detail) 1965, “Faith Ringgold” (detail)
1977 New Realism/”slyly psychological portraits”
Yes, the wife of Beatle John Lennon did something
else besides help break up the most popular band
in the world. Her pear floats in mystery.
A detail of Yoko Ono’s “Touch me III,”
2008, pre damage. NYC
Little known Irish painter working in oil, with
influences of Degas in some of her work. As she
did I looked to Degas for guidance .
“Trees by the Dodder” Oil on Canvas
Working in paint & collage, she voices concern for
Indian people & the land that was once theirs.
Sadly, I did to the pear what has been done to her
people.
“I See Red: Snowman,” 1992 oil and mixed media
on canvas. Examines American Indian life in
contrast to the consumerism of American society.
With WNY connections, a world collected artist, her
pear reflects the personal expressionism found in
her work.
“Provenance/ Two-Tone” 1975 Acrylic and
tempera on canvas AKG 60 x 113 in. “Seeking to
reconcile a new interest in imagery with the
vocabulary of abstraction…”
One of the founders of Hallwalls, Buffalo, NY, her
“Untitled Film Series” is in MOMA’s collection. Her pear
sits amidst garbage, in response to her Fairytales and
Disasters Series, Garbage is painted with unexpected
results.
Disaster Series: “Untitled #188” 1989
43 ¼ x 65” Cindy is absent from this
garbled image.
Known for her work in geometric forms, collected
world wide, including AKG. Her work inspired a
pear to be cut up and arranged with a particular
sense of design.
“Composition of circles and Semicircles” 1953
Gouache on paper, 10 x 13 ½” NMWA
Photographer of over 3,000 images of people, crafts
and landscapes the Appalachian Mountains, using
archaic large-format cameras. I was prompted to work
slowly, outdoors in limited color.
“Jason Reed” 1933, a chair
maker from North Carolina,
working wood on the shave
horse.
Dedicated to the Surrealist movement in the 1930’s, an
excellent draftswoman,Varo’s work included distorted
perspectives & unexplained narratives. Her pear floats
within a fragment of her work: “The Creation of Birds”.
“Vagabond” 1957 Oil on
Masonite 22 x 10 5/8 in.
Little known British painter of portraits, flowers
and seascapes, her technique reflected
impressionism. Called the best woman artist of
that time. I bowed to paint her pear with flowers.
Portrait: “ The hon. Mrs. Adams”
Circa 1901 oil on canvas
Vienna born figurative painter, Hausner calls her
work, “human landscapes.” My reaction: to paint a
“still life landscape” using fruit to contrast the
faded landscape.
“Lola” hand-painted lithograph
35 ½ x 45 ¼ in.
A successful British photographer, she dressed her
clients as Mythological Creatures and Goddesses.
So, her pear was donned with jewels, befitting
some mysterious subject.
Lady Dorothy Warrender as
“Ceres”, the ancient Italian CornGoddess. These grain mysteries
were enacted by women only.
( 1887-1968) Marguerite and her husband William
were both devoted to bringing Fauvism to America.
Her pear floats in an abstract combing my figurative
work with her landscape. ( she made me do it!)
She and her husband William would paint on both
sides of a canvas, I enlisted my husband Jim to
paint a fragment of her work to honor them, thus
it is shown with a two sided framing.
I am grateful to the artist I referenced and all
women artist- my predecessors and
contemporaries for their creative impulses
and inspiration. I hope that my efforts and
this series, honor their achievements and
serve as a tribute to them. I intend to
continue this project through more research
into each woman’s life and their work to
further communicate their stories through
lectures, print materials and exhibitions.
Coni Minneci 1950-
Slide 23
From Sofonisba Anguissola to Marguerite Thompson Zorach
26 Still Life Paintings using the Pear as a
Metaphor for their work and their lives.
By Coni Minneci
My awareness of the inequities that have historically plagued
the recognition and accomplishments of women artist
compelled me in 2001 to write a paper entitled “ Women in
Art history: A – Z”, as a part of my studies at Empire College.
A few years later, the painting series was begun. These 26
paintings, created over a period of three years, was the result
of my reflection on the notes and other documentation that I
had gathered, and allowing the work and life of each of these
women to influence me and inspire an original still life
painting. Working with subliminal impulses and intuitive
thought, I conceived each work. Some came easily, and others
were perplexing visual challenges.
A woman renowned in her own time as a portrait
artist. I hid her image within this simple
composition as she hid a woman in her self
portrait. Can you find her?
“Self Portrait at the
Clavichord” 1561
Ahhh, Jennifer, stardom at a young age in the art
circles of America. Symphony of visual poetry,
simplified shapes, rhythm and repetition. A star in
the spotlight.
Detail from “Rhapsody” 1975
This outspoken Feminist artist has written seven
books and is exhibited world wide. I did to the
pear what I believe she thinks the history of art
has done to women.
“The Dinner Party” 1979 Five years in
the making, this installation recognizes the
accomplishments of 39 women in history.
Included in this image are fragments from her
early “Cubist Quilt” art, the thread floats within the
painting, representing three segments of her life:
artist-mother-wife.
A scene form the film “Le p’tit Parigot” (1926) with
costumes by Sonia and paintings on the wall by
Robert.
Her talent was hidden until the death of her
famous artist husband, Thomas Eakins. Color is
limited and an unopened flower is a symbol of
her talent waiting to bloom.
“Two Sisters” 1879 oil on canvas
Successful in the times she lived in, an amazing
figurative painter, she challenged me to try to
paint contrasting textures. This small attempt
tries to honor her.
“Portrait of a Noblewomen” 1580 National
Museum of Women in the Arts, Washington D.C.
A Buffalo artist whose work transcends space and
time. Her pear has floating text, and a small
globe, just a peak into Gordon’s world.
“Presenting Evidence” Albright-Knox Art Gallery
2002, a recreation of Gordon’s studio.
A woman who abandoned Abstract Expressionism
to investigate “Painting Art History. My image is
reactionary to her early works regarding
advertisement in America .
“December Second” 1959 Oil on Canvas
48 x 72 in.
NMWA
Responding to her book: “Juchitan de las Mujeres”, I
painted pears reflecting the strong-willed large bodies
women, the matriarchal community in her photoessay, who preserve their culture and traditions.
Juchitan de las Mujeres 1989 A community in
the far south of Mexico, with Zapotec-influences.
The title “Queen Mother” of African American Art was
bestowed upon her by her students & admirers.
Struggles against prejudice and criticism forced her to
have multiple identities as she grew in her art, so too
the pear.
“Ode to Kinshasa” 1972 Mixed Media on canvas
48 x 63 in. NMWA
Experiments with computer technology led Krause and
two women artists to form “Digital Atlelier”, a
printmakers group online. Forcing me to think another
way, the result has the pear open to new methods and
ideas.
Digital Atelier Exhibit , 2005, New Bedford Art
Museum
Little known Dutch painter, her work has often
been confused with Fans Hals. Her amusing
imagery prompted me to have fun with veggies
and her pear. Note: JL not F H!!
“The Concert” ca. 1633 Oil on Canvas NMWA
Working with wood and real found objects , often
including images of herself, Marisol’s work results
in ambiguous ironic , haunting sculptures, thus
this image with my wooden blocks.
“Women and dog” 1964 Wood, plaster, synthetic
polymer, and various media. Whitney museum of
American Art, NYC
Her figurative work has been described as consistent,
serious and an innovative body of work. Responding to
her encouragement, I included fragments of my “Diva”
series with her pear.
“Charlotte Willard” (detail) 1967, “Mary
Shoemaker” (detail) 1965, “Faith Ringgold” (detail)
1977 New Realism/”slyly psychological portraits”
Yes, the wife of Beatle John Lennon did something
else besides help break up the most popular band
in the world. Her pear floats in mystery.
A detail of Yoko Ono’s “Touch me III,”
2008, pre damage. NYC
Little known Irish painter working in oil, with
influences of Degas in some of her work. As she
did I looked to Degas for guidance .
“Trees by the Dodder” Oil on Canvas
Working in paint & collage, she voices concern for
Indian people & the land that was once theirs.
Sadly, I did to the pear what has been done to her
people.
“I See Red: Snowman,” 1992 oil and mixed media
on canvas. Examines American Indian life in
contrast to the consumerism of American society.
With WNY connections, a world collected artist, her
pear reflects the personal expressionism found in
her work.
“Provenance/ Two-Tone” 1975 Acrylic and
tempera on canvas AKG 60 x 113 in. “Seeking to
reconcile a new interest in imagery with the
vocabulary of abstraction…”
One of the founders of Hallwalls, Buffalo, NY, her
“Untitled Film Series” is in MOMA’s collection. Her pear
sits amidst garbage, in response to her Fairytales and
Disasters Series, Garbage is painted with unexpected
results.
Disaster Series: “Untitled #188” 1989
43 ¼ x 65” Cindy is absent from this
garbled image.
Known for her work in geometric forms, collected
world wide, including AKG. Her work inspired a
pear to be cut up and arranged with a particular
sense of design.
“Composition of circles and Semicircles” 1953
Gouache on paper, 10 x 13 ½” NMWA
Photographer of over 3,000 images of people, crafts
and landscapes the Appalachian Mountains, using
archaic large-format cameras. I was prompted to work
slowly, outdoors in limited color.
“Jason Reed” 1933, a chair
maker from North Carolina,
working wood on the shave
horse.
Dedicated to the Surrealist movement in the 1930’s, an
excellent draftswoman,Varo’s work included distorted
perspectives & unexplained narratives. Her pear floats
within a fragment of her work: “The Creation of Birds”.
“Vagabond” 1957 Oil on
Masonite 22 x 10 5/8 in.
Little known British painter of portraits, flowers
and seascapes, her technique reflected
impressionism. Called the best woman artist of
that time. I bowed to paint her pear with flowers.
Portrait: “ The hon. Mrs. Adams”
Circa 1901 oil on canvas
Vienna born figurative painter, Hausner calls her
work, “human landscapes.” My reaction: to paint a
“still life landscape” using fruit to contrast the
faded landscape.
“Lola” hand-painted lithograph
35 ½ x 45 ¼ in.
A successful British photographer, she dressed her
clients as Mythological Creatures and Goddesses.
So, her pear was donned with jewels, befitting
some mysterious subject.
Lady Dorothy Warrender as
“Ceres”, the ancient Italian CornGoddess. These grain mysteries
were enacted by women only.
( 1887-1968) Marguerite and her husband William
were both devoted to bringing Fauvism to America.
Her pear floats in an abstract combing my figurative
work with her landscape. ( she made me do it!)
She and her husband William would paint on both
sides of a canvas, I enlisted my husband Jim to
paint a fragment of her work to honor them, thus
it is shown with a two sided framing.
I am grateful to the artist I referenced and all
women artist- my predecessors and
contemporaries for their creative impulses
and inspiration. I hope that my efforts and
this series, honor their achievements and
serve as a tribute to them. I intend to
continue this project through more research
into each woman’s life and their work to
further communicate their stories through
lectures, print materials and exhibitions.
Coni Minneci 1950-
Slide 24
From Sofonisba Anguissola to Marguerite Thompson Zorach
26 Still Life Paintings using the Pear as a
Metaphor for their work and their lives.
By Coni Minneci
My awareness of the inequities that have historically plagued
the recognition and accomplishments of women artist
compelled me in 2001 to write a paper entitled “ Women in
Art history: A – Z”, as a part of my studies at Empire College.
A few years later, the painting series was begun. These 26
paintings, created over a period of three years, was the result
of my reflection on the notes and other documentation that I
had gathered, and allowing the work and life of each of these
women to influence me and inspire an original still life
painting. Working with subliminal impulses and intuitive
thought, I conceived each work. Some came easily, and others
were perplexing visual challenges.
A woman renowned in her own time as a portrait
artist. I hid her image within this simple
composition as she hid a woman in her self
portrait. Can you find her?
“Self Portrait at the
Clavichord” 1561
Ahhh, Jennifer, stardom at a young age in the art
circles of America. Symphony of visual poetry,
simplified shapes, rhythm and repetition. A star in
the spotlight.
Detail from “Rhapsody” 1975
This outspoken Feminist artist has written seven
books and is exhibited world wide. I did to the
pear what I believe she thinks the history of art
has done to women.
“The Dinner Party” 1979 Five years in
the making, this installation recognizes the
accomplishments of 39 women in history.
Included in this image are fragments from her
early “Cubist Quilt” art, the thread floats within the
painting, representing three segments of her life:
artist-mother-wife.
A scene form the film “Le p’tit Parigot” (1926) with
costumes by Sonia and paintings on the wall by
Robert.
Her talent was hidden until the death of her
famous artist husband, Thomas Eakins. Color is
limited and an unopened flower is a symbol of
her talent waiting to bloom.
“Two Sisters” 1879 oil on canvas
Successful in the times she lived in, an amazing
figurative painter, she challenged me to try to
paint contrasting textures. This small attempt
tries to honor her.
“Portrait of a Noblewomen” 1580 National
Museum of Women in the Arts, Washington D.C.
A Buffalo artist whose work transcends space and
time. Her pear has floating text, and a small
globe, just a peak into Gordon’s world.
“Presenting Evidence” Albright-Knox Art Gallery
2002, a recreation of Gordon’s studio.
A woman who abandoned Abstract Expressionism
to investigate “Painting Art History. My image is
reactionary to her early works regarding
advertisement in America .
“December Second” 1959 Oil on Canvas
48 x 72 in.
NMWA
Responding to her book: “Juchitan de las Mujeres”, I
painted pears reflecting the strong-willed large bodies
women, the matriarchal community in her photoessay, who preserve their culture and traditions.
Juchitan de las Mujeres 1989 A community in
the far south of Mexico, with Zapotec-influences.
The title “Queen Mother” of African American Art was
bestowed upon her by her students & admirers.
Struggles against prejudice and criticism forced her to
have multiple identities as she grew in her art, so too
the pear.
“Ode to Kinshasa” 1972 Mixed Media on canvas
48 x 63 in. NMWA
Experiments with computer technology led Krause and
two women artists to form “Digital Atlelier”, a
printmakers group online. Forcing me to think another
way, the result has the pear open to new methods and
ideas.
Digital Atelier Exhibit , 2005, New Bedford Art
Museum
Little known Dutch painter, her work has often
been confused with Fans Hals. Her amusing
imagery prompted me to have fun with veggies
and her pear. Note: JL not F H!!
“The Concert” ca. 1633 Oil on Canvas NMWA
Working with wood and real found objects , often
including images of herself, Marisol’s work results
in ambiguous ironic , haunting sculptures, thus
this image with my wooden blocks.
“Women and dog” 1964 Wood, plaster, synthetic
polymer, and various media. Whitney museum of
American Art, NYC
Her figurative work has been described as consistent,
serious and an innovative body of work. Responding to
her encouragement, I included fragments of my “Diva”
series with her pear.
“Charlotte Willard” (detail) 1967, “Mary
Shoemaker” (detail) 1965, “Faith Ringgold” (detail)
1977 New Realism/”slyly psychological portraits”
Yes, the wife of Beatle John Lennon did something
else besides help break up the most popular band
in the world. Her pear floats in mystery.
A detail of Yoko Ono’s “Touch me III,”
2008, pre damage. NYC
Little known Irish painter working in oil, with
influences of Degas in some of her work. As she
did I looked to Degas for guidance .
“Trees by the Dodder” Oil on Canvas
Working in paint & collage, she voices concern for
Indian people & the land that was once theirs.
Sadly, I did to the pear what has been done to her
people.
“I See Red: Snowman,” 1992 oil and mixed media
on canvas. Examines American Indian life in
contrast to the consumerism of American society.
With WNY connections, a world collected artist, her
pear reflects the personal expressionism found in
her work.
“Provenance/ Two-Tone” 1975 Acrylic and
tempera on canvas AKG 60 x 113 in. “Seeking to
reconcile a new interest in imagery with the
vocabulary of abstraction…”
One of the founders of Hallwalls, Buffalo, NY, her
“Untitled Film Series” is in MOMA’s collection. Her pear
sits amidst garbage, in response to her Fairytales and
Disasters Series, Garbage is painted with unexpected
results.
Disaster Series: “Untitled #188” 1989
43 ¼ x 65” Cindy is absent from this
garbled image.
Known for her work in geometric forms, collected
world wide, including AKG. Her work inspired a
pear to be cut up and arranged with a particular
sense of design.
“Composition of circles and Semicircles” 1953
Gouache on paper, 10 x 13 ½” NMWA
Photographer of over 3,000 images of people, crafts
and landscapes the Appalachian Mountains, using
archaic large-format cameras. I was prompted to work
slowly, outdoors in limited color.
“Jason Reed” 1933, a chair
maker from North Carolina,
working wood on the shave
horse.
Dedicated to the Surrealist movement in the 1930’s, an
excellent draftswoman,Varo’s work included distorted
perspectives & unexplained narratives. Her pear floats
within a fragment of her work: “The Creation of Birds”.
“Vagabond” 1957 Oil on
Masonite 22 x 10 5/8 in.
Little known British painter of portraits, flowers
and seascapes, her technique reflected
impressionism. Called the best woman artist of
that time. I bowed to paint her pear with flowers.
Portrait: “ The hon. Mrs. Adams”
Circa 1901 oil on canvas
Vienna born figurative painter, Hausner calls her
work, “human landscapes.” My reaction: to paint a
“still life landscape” using fruit to contrast the
faded landscape.
“Lola” hand-painted lithograph
35 ½ x 45 ¼ in.
A successful British photographer, she dressed her
clients as Mythological Creatures and Goddesses.
So, her pear was donned with jewels, befitting
some mysterious subject.
Lady Dorothy Warrender as
“Ceres”, the ancient Italian CornGoddess. These grain mysteries
were enacted by women only.
( 1887-1968) Marguerite and her husband William
were both devoted to bringing Fauvism to America.
Her pear floats in an abstract combing my figurative
work with her landscape. ( she made me do it!)
She and her husband William would paint on both
sides of a canvas, I enlisted my husband Jim to
paint a fragment of her work to honor them, thus
it is shown with a two sided framing.
I am grateful to the artist I referenced and all
women artist- my predecessors and
contemporaries for their creative impulses
and inspiration. I hope that my efforts and
this series, honor their achievements and
serve as a tribute to them. I intend to
continue this project through more research
into each woman’s life and their work to
further communicate their stories through
lectures, print materials and exhibitions.
Coni Minneci 1950-
Slide 25
From Sofonisba Anguissola to Marguerite Thompson Zorach
26 Still Life Paintings using the Pear as a
Metaphor for their work and their lives.
By Coni Minneci
My awareness of the inequities that have historically plagued
the recognition and accomplishments of women artist
compelled me in 2001 to write a paper entitled “ Women in
Art history: A – Z”, as a part of my studies at Empire College.
A few years later, the painting series was begun. These 26
paintings, created over a period of three years, was the result
of my reflection on the notes and other documentation that I
had gathered, and allowing the work and life of each of these
women to influence me and inspire an original still life
painting. Working with subliminal impulses and intuitive
thought, I conceived each work. Some came easily, and others
were perplexing visual challenges.
A woman renowned in her own time as a portrait
artist. I hid her image within this simple
composition as she hid a woman in her self
portrait. Can you find her?
“Self Portrait at the
Clavichord” 1561
Ahhh, Jennifer, stardom at a young age in the art
circles of America. Symphony of visual poetry,
simplified shapes, rhythm and repetition. A star in
the spotlight.
Detail from “Rhapsody” 1975
This outspoken Feminist artist has written seven
books and is exhibited world wide. I did to the
pear what I believe she thinks the history of art
has done to women.
“The Dinner Party” 1979 Five years in
the making, this installation recognizes the
accomplishments of 39 women in history.
Included in this image are fragments from her
early “Cubist Quilt” art, the thread floats within the
painting, representing three segments of her life:
artist-mother-wife.
A scene form the film “Le p’tit Parigot” (1926) with
costumes by Sonia and paintings on the wall by
Robert.
Her talent was hidden until the death of her
famous artist husband, Thomas Eakins. Color is
limited and an unopened flower is a symbol of
her talent waiting to bloom.
“Two Sisters” 1879 oil on canvas
Successful in the times she lived in, an amazing
figurative painter, she challenged me to try to
paint contrasting textures. This small attempt
tries to honor her.
“Portrait of a Noblewomen” 1580 National
Museum of Women in the Arts, Washington D.C.
A Buffalo artist whose work transcends space and
time. Her pear has floating text, and a small
globe, just a peak into Gordon’s world.
“Presenting Evidence” Albright-Knox Art Gallery
2002, a recreation of Gordon’s studio.
A woman who abandoned Abstract Expressionism
to investigate “Painting Art History. My image is
reactionary to her early works regarding
advertisement in America .
“December Second” 1959 Oil on Canvas
48 x 72 in.
NMWA
Responding to her book: “Juchitan de las Mujeres”, I
painted pears reflecting the strong-willed large bodies
women, the matriarchal community in her photoessay, who preserve their culture and traditions.
Juchitan de las Mujeres 1989 A community in
the far south of Mexico, with Zapotec-influences.
The title “Queen Mother” of African American Art was
bestowed upon her by her students & admirers.
Struggles against prejudice and criticism forced her to
have multiple identities as she grew in her art, so too
the pear.
“Ode to Kinshasa” 1972 Mixed Media on canvas
48 x 63 in. NMWA
Experiments with computer technology led Krause and
two women artists to form “Digital Atlelier”, a
printmakers group online. Forcing me to think another
way, the result has the pear open to new methods and
ideas.
Digital Atelier Exhibit , 2005, New Bedford Art
Museum
Little known Dutch painter, her work has often
been confused with Fans Hals. Her amusing
imagery prompted me to have fun with veggies
and her pear. Note: JL not F H!!
“The Concert” ca. 1633 Oil on Canvas NMWA
Working with wood and real found objects , often
including images of herself, Marisol’s work results
in ambiguous ironic , haunting sculptures, thus
this image with my wooden blocks.
“Women and dog” 1964 Wood, plaster, synthetic
polymer, and various media. Whitney museum of
American Art, NYC
Her figurative work has been described as consistent,
serious and an innovative body of work. Responding to
her encouragement, I included fragments of my “Diva”
series with her pear.
“Charlotte Willard” (detail) 1967, “Mary
Shoemaker” (detail) 1965, “Faith Ringgold” (detail)
1977 New Realism/”slyly psychological portraits”
Yes, the wife of Beatle John Lennon did something
else besides help break up the most popular band
in the world. Her pear floats in mystery.
A detail of Yoko Ono’s “Touch me III,”
2008, pre damage. NYC
Little known Irish painter working in oil, with
influences of Degas in some of her work. As she
did I looked to Degas for guidance .
“Trees by the Dodder” Oil on Canvas
Working in paint & collage, she voices concern for
Indian people & the land that was once theirs.
Sadly, I did to the pear what has been done to her
people.
“I See Red: Snowman,” 1992 oil and mixed media
on canvas. Examines American Indian life in
contrast to the consumerism of American society.
With WNY connections, a world collected artist, her
pear reflects the personal expressionism found in
her work.
“Provenance/ Two-Tone” 1975 Acrylic and
tempera on canvas AKG 60 x 113 in. “Seeking to
reconcile a new interest in imagery with the
vocabulary of abstraction…”
One of the founders of Hallwalls, Buffalo, NY, her
“Untitled Film Series” is in MOMA’s collection. Her pear
sits amidst garbage, in response to her Fairytales and
Disasters Series, Garbage is painted with unexpected
results.
Disaster Series: “Untitled #188” 1989
43 ¼ x 65” Cindy is absent from this
garbled image.
Known for her work in geometric forms, collected
world wide, including AKG. Her work inspired a
pear to be cut up and arranged with a particular
sense of design.
“Composition of circles and Semicircles” 1953
Gouache on paper, 10 x 13 ½” NMWA
Photographer of over 3,000 images of people, crafts
and landscapes the Appalachian Mountains, using
archaic large-format cameras. I was prompted to work
slowly, outdoors in limited color.
“Jason Reed” 1933, a chair
maker from North Carolina,
working wood on the shave
horse.
Dedicated to the Surrealist movement in the 1930’s, an
excellent draftswoman,Varo’s work included distorted
perspectives & unexplained narratives. Her pear floats
within a fragment of her work: “The Creation of Birds”.
“Vagabond” 1957 Oil on
Masonite 22 x 10 5/8 in.
Little known British painter of portraits, flowers
and seascapes, her technique reflected
impressionism. Called the best woman artist of
that time. I bowed to paint her pear with flowers.
Portrait: “ The hon. Mrs. Adams”
Circa 1901 oil on canvas
Vienna born figurative painter, Hausner calls her
work, “human landscapes.” My reaction: to paint a
“still life landscape” using fruit to contrast the
faded landscape.
“Lola” hand-painted lithograph
35 ½ x 45 ¼ in.
A successful British photographer, she dressed her
clients as Mythological Creatures and Goddesses.
So, her pear was donned with jewels, befitting
some mysterious subject.
Lady Dorothy Warrender as
“Ceres”, the ancient Italian CornGoddess. These grain mysteries
were enacted by women only.
( 1887-1968) Marguerite and her husband William
were both devoted to bringing Fauvism to America.
Her pear floats in an abstract combing my figurative
work with her landscape. ( she made me do it!)
She and her husband William would paint on both
sides of a canvas, I enlisted my husband Jim to
paint a fragment of her work to honor them, thus
it is shown with a two sided framing.
I am grateful to the artist I referenced and all
women artist- my predecessors and
contemporaries for their creative impulses
and inspiration. I hope that my efforts and
this series, honor their achievements and
serve as a tribute to them. I intend to
continue this project through more research
into each woman’s life and their work to
further communicate their stories through
lectures, print materials and exhibitions.
Coni Minneci 1950-
Slide 26
From Sofonisba Anguissola to Marguerite Thompson Zorach
26 Still Life Paintings using the Pear as a
Metaphor for their work and their lives.
By Coni Minneci
My awareness of the inequities that have historically plagued
the recognition and accomplishments of women artist
compelled me in 2001 to write a paper entitled “ Women in
Art history: A – Z”, as a part of my studies at Empire College.
A few years later, the painting series was begun. These 26
paintings, created over a period of three years, was the result
of my reflection on the notes and other documentation that I
had gathered, and allowing the work and life of each of these
women to influence me and inspire an original still life
painting. Working with subliminal impulses and intuitive
thought, I conceived each work. Some came easily, and others
were perplexing visual challenges.
A woman renowned in her own time as a portrait
artist. I hid her image within this simple
composition as she hid a woman in her self
portrait. Can you find her?
“Self Portrait at the
Clavichord” 1561
Ahhh, Jennifer, stardom at a young age in the art
circles of America. Symphony of visual poetry,
simplified shapes, rhythm and repetition. A star in
the spotlight.
Detail from “Rhapsody” 1975
This outspoken Feminist artist has written seven
books and is exhibited world wide. I did to the
pear what I believe she thinks the history of art
has done to women.
“The Dinner Party” 1979 Five years in
the making, this installation recognizes the
accomplishments of 39 women in history.
Included in this image are fragments from her
early “Cubist Quilt” art, the thread floats within the
painting, representing three segments of her life:
artist-mother-wife.
A scene form the film “Le p’tit Parigot” (1926) with
costumes by Sonia and paintings on the wall by
Robert.
Her talent was hidden until the death of her
famous artist husband, Thomas Eakins. Color is
limited and an unopened flower is a symbol of
her talent waiting to bloom.
“Two Sisters” 1879 oil on canvas
Successful in the times she lived in, an amazing
figurative painter, she challenged me to try to
paint contrasting textures. This small attempt
tries to honor her.
“Portrait of a Noblewomen” 1580 National
Museum of Women in the Arts, Washington D.C.
A Buffalo artist whose work transcends space and
time. Her pear has floating text, and a small
globe, just a peak into Gordon’s world.
“Presenting Evidence” Albright-Knox Art Gallery
2002, a recreation of Gordon’s studio.
A woman who abandoned Abstract Expressionism
to investigate “Painting Art History. My image is
reactionary to her early works regarding
advertisement in America .
“December Second” 1959 Oil on Canvas
48 x 72 in.
NMWA
Responding to her book: “Juchitan de las Mujeres”, I
painted pears reflecting the strong-willed large bodies
women, the matriarchal community in her photoessay, who preserve their culture and traditions.
Juchitan de las Mujeres 1989 A community in
the far south of Mexico, with Zapotec-influences.
The title “Queen Mother” of African American Art was
bestowed upon her by her students & admirers.
Struggles against prejudice and criticism forced her to
have multiple identities as she grew in her art, so too
the pear.
“Ode to Kinshasa” 1972 Mixed Media on canvas
48 x 63 in. NMWA
Experiments with computer technology led Krause and
two women artists to form “Digital Atlelier”, a
printmakers group online. Forcing me to think another
way, the result has the pear open to new methods and
ideas.
Digital Atelier Exhibit , 2005, New Bedford Art
Museum
Little known Dutch painter, her work has often
been confused with Fans Hals. Her amusing
imagery prompted me to have fun with veggies
and her pear. Note: JL not F H!!
“The Concert” ca. 1633 Oil on Canvas NMWA
Working with wood and real found objects , often
including images of herself, Marisol’s work results
in ambiguous ironic , haunting sculptures, thus
this image with my wooden blocks.
“Women and dog” 1964 Wood, plaster, synthetic
polymer, and various media. Whitney museum of
American Art, NYC
Her figurative work has been described as consistent,
serious and an innovative body of work. Responding to
her encouragement, I included fragments of my “Diva”
series with her pear.
“Charlotte Willard” (detail) 1967, “Mary
Shoemaker” (detail) 1965, “Faith Ringgold” (detail)
1977 New Realism/”slyly psychological portraits”
Yes, the wife of Beatle John Lennon did something
else besides help break up the most popular band
in the world. Her pear floats in mystery.
A detail of Yoko Ono’s “Touch me III,”
2008, pre damage. NYC
Little known Irish painter working in oil, with
influences of Degas in some of her work. As she
did I looked to Degas for guidance .
“Trees by the Dodder” Oil on Canvas
Working in paint & collage, she voices concern for
Indian people & the land that was once theirs.
Sadly, I did to the pear what has been done to her
people.
“I See Red: Snowman,” 1992 oil and mixed media
on canvas. Examines American Indian life in
contrast to the consumerism of American society.
With WNY connections, a world collected artist, her
pear reflects the personal expressionism found in
her work.
“Provenance/ Two-Tone” 1975 Acrylic and
tempera on canvas AKG 60 x 113 in. “Seeking to
reconcile a new interest in imagery with the
vocabulary of abstraction…”
One of the founders of Hallwalls, Buffalo, NY, her
“Untitled Film Series” is in MOMA’s collection. Her pear
sits amidst garbage, in response to her Fairytales and
Disasters Series, Garbage is painted with unexpected
results.
Disaster Series: “Untitled #188” 1989
43 ¼ x 65” Cindy is absent from this
garbled image.
Known for her work in geometric forms, collected
world wide, including AKG. Her work inspired a
pear to be cut up and arranged with a particular
sense of design.
“Composition of circles and Semicircles” 1953
Gouache on paper, 10 x 13 ½” NMWA
Photographer of over 3,000 images of people, crafts
and landscapes the Appalachian Mountains, using
archaic large-format cameras. I was prompted to work
slowly, outdoors in limited color.
“Jason Reed” 1933, a chair
maker from North Carolina,
working wood on the shave
horse.
Dedicated to the Surrealist movement in the 1930’s, an
excellent draftswoman,Varo’s work included distorted
perspectives & unexplained narratives. Her pear floats
within a fragment of her work: “The Creation of Birds”.
“Vagabond” 1957 Oil on
Masonite 22 x 10 5/8 in.
Little known British painter of portraits, flowers
and seascapes, her technique reflected
impressionism. Called the best woman artist of
that time. I bowed to paint her pear with flowers.
Portrait: “ The hon. Mrs. Adams”
Circa 1901 oil on canvas
Vienna born figurative painter, Hausner calls her
work, “human landscapes.” My reaction: to paint a
“still life landscape” using fruit to contrast the
faded landscape.
“Lola” hand-painted lithograph
35 ½ x 45 ¼ in.
A successful British photographer, she dressed her
clients as Mythological Creatures and Goddesses.
So, her pear was donned with jewels, befitting
some mysterious subject.
Lady Dorothy Warrender as
“Ceres”, the ancient Italian CornGoddess. These grain mysteries
were enacted by women only.
( 1887-1968) Marguerite and her husband William
were both devoted to bringing Fauvism to America.
Her pear floats in an abstract combing my figurative
work with her landscape. ( she made me do it!)
She and her husband William would paint on both
sides of a canvas, I enlisted my husband Jim to
paint a fragment of her work to honor them, thus
it is shown with a two sided framing.
I am grateful to the artist I referenced and all
women artist- my predecessors and
contemporaries for their creative impulses
and inspiration. I hope that my efforts and
this series, honor their achievements and
serve as a tribute to them. I intend to
continue this project through more research
into each woman’s life and their work to
further communicate their stories through
lectures, print materials and exhibitions.
Coni Minneci 1950-
Slide 27
From Sofonisba Anguissola to Marguerite Thompson Zorach
26 Still Life Paintings using the Pear as a
Metaphor for their work and their lives.
By Coni Minneci
My awareness of the inequities that have historically plagued
the recognition and accomplishments of women artist
compelled me in 2001 to write a paper entitled “ Women in
Art history: A – Z”, as a part of my studies at Empire College.
A few years later, the painting series was begun. These 26
paintings, created over a period of three years, was the result
of my reflection on the notes and other documentation that I
had gathered, and allowing the work and life of each of these
women to influence me and inspire an original still life
painting. Working with subliminal impulses and intuitive
thought, I conceived each work. Some came easily, and others
were perplexing visual challenges.
A woman renowned in her own time as a portrait
artist. I hid her image within this simple
composition as she hid a woman in her self
portrait. Can you find her?
“Self Portrait at the
Clavichord” 1561
Ahhh, Jennifer, stardom at a young age in the art
circles of America. Symphony of visual poetry,
simplified shapes, rhythm and repetition. A star in
the spotlight.
Detail from “Rhapsody” 1975
This outspoken Feminist artist has written seven
books and is exhibited world wide. I did to the
pear what I believe she thinks the history of art
has done to women.
“The Dinner Party” 1979 Five years in
the making, this installation recognizes the
accomplishments of 39 women in history.
Included in this image are fragments from her
early “Cubist Quilt” art, the thread floats within the
painting, representing three segments of her life:
artist-mother-wife.
A scene form the film “Le p’tit Parigot” (1926) with
costumes by Sonia and paintings on the wall by
Robert.
Her talent was hidden until the death of her
famous artist husband, Thomas Eakins. Color is
limited and an unopened flower is a symbol of
her talent waiting to bloom.
“Two Sisters” 1879 oil on canvas
Successful in the times she lived in, an amazing
figurative painter, she challenged me to try to
paint contrasting textures. This small attempt
tries to honor her.
“Portrait of a Noblewomen” 1580 National
Museum of Women in the Arts, Washington D.C.
A Buffalo artist whose work transcends space and
time. Her pear has floating text, and a small
globe, just a peak into Gordon’s world.
“Presenting Evidence” Albright-Knox Art Gallery
2002, a recreation of Gordon’s studio.
A woman who abandoned Abstract Expressionism
to investigate “Painting Art History. My image is
reactionary to her early works regarding
advertisement in America .
“December Second” 1959 Oil on Canvas
48 x 72 in.
NMWA
Responding to her book: “Juchitan de las Mujeres”, I
painted pears reflecting the strong-willed large bodies
women, the matriarchal community in her photoessay, who preserve their culture and traditions.
Juchitan de las Mujeres 1989 A community in
the far south of Mexico, with Zapotec-influences.
The title “Queen Mother” of African American Art was
bestowed upon her by her students & admirers.
Struggles against prejudice and criticism forced her to
have multiple identities as she grew in her art, so too
the pear.
“Ode to Kinshasa” 1972 Mixed Media on canvas
48 x 63 in. NMWA
Experiments with computer technology led Krause and
two women artists to form “Digital Atlelier”, a
printmakers group online. Forcing me to think another
way, the result has the pear open to new methods and
ideas.
Digital Atelier Exhibit , 2005, New Bedford Art
Museum
Little known Dutch painter, her work has often
been confused with Fans Hals. Her amusing
imagery prompted me to have fun with veggies
and her pear. Note: JL not F H!!
“The Concert” ca. 1633 Oil on Canvas NMWA
Working with wood and real found objects , often
including images of herself, Marisol’s work results
in ambiguous ironic , haunting sculptures, thus
this image with my wooden blocks.
“Women and dog” 1964 Wood, plaster, synthetic
polymer, and various media. Whitney museum of
American Art, NYC
Her figurative work has been described as consistent,
serious and an innovative body of work. Responding to
her encouragement, I included fragments of my “Diva”
series with her pear.
“Charlotte Willard” (detail) 1967, “Mary
Shoemaker” (detail) 1965, “Faith Ringgold” (detail)
1977 New Realism/”slyly psychological portraits”
Yes, the wife of Beatle John Lennon did something
else besides help break up the most popular band
in the world. Her pear floats in mystery.
A detail of Yoko Ono’s “Touch me III,”
2008, pre damage. NYC
Little known Irish painter working in oil, with
influences of Degas in some of her work. As she
did I looked to Degas for guidance .
“Trees by the Dodder” Oil on Canvas
Working in paint & collage, she voices concern for
Indian people & the land that was once theirs.
Sadly, I did to the pear what has been done to her
people.
“I See Red: Snowman,” 1992 oil and mixed media
on canvas. Examines American Indian life in
contrast to the consumerism of American society.
With WNY connections, a world collected artist, her
pear reflects the personal expressionism found in
her work.
“Provenance/ Two-Tone” 1975 Acrylic and
tempera on canvas AKG 60 x 113 in. “Seeking to
reconcile a new interest in imagery with the
vocabulary of abstraction…”
One of the founders of Hallwalls, Buffalo, NY, her
“Untitled Film Series” is in MOMA’s collection. Her pear
sits amidst garbage, in response to her Fairytales and
Disasters Series, Garbage is painted with unexpected
results.
Disaster Series: “Untitled #188” 1989
43 ¼ x 65” Cindy is absent from this
garbled image.
Known for her work in geometric forms, collected
world wide, including AKG. Her work inspired a
pear to be cut up and arranged with a particular
sense of design.
“Composition of circles and Semicircles” 1953
Gouache on paper, 10 x 13 ½” NMWA
Photographer of over 3,000 images of people, crafts
and landscapes the Appalachian Mountains, using
archaic large-format cameras. I was prompted to work
slowly, outdoors in limited color.
“Jason Reed” 1933, a chair
maker from North Carolina,
working wood on the shave
horse.
Dedicated to the Surrealist movement in the 1930’s, an
excellent draftswoman,Varo’s work included distorted
perspectives & unexplained narratives. Her pear floats
within a fragment of her work: “The Creation of Birds”.
“Vagabond” 1957 Oil on
Masonite 22 x 10 5/8 in.
Little known British painter of portraits, flowers
and seascapes, her technique reflected
impressionism. Called the best woman artist of
that time. I bowed to paint her pear with flowers.
Portrait: “ The hon. Mrs. Adams”
Circa 1901 oil on canvas
Vienna born figurative painter, Hausner calls her
work, “human landscapes.” My reaction: to paint a
“still life landscape” using fruit to contrast the
faded landscape.
“Lola” hand-painted lithograph
35 ½ x 45 ¼ in.
A successful British photographer, she dressed her
clients as Mythological Creatures and Goddesses.
So, her pear was donned with jewels, befitting
some mysterious subject.
Lady Dorothy Warrender as
“Ceres”, the ancient Italian CornGoddess. These grain mysteries
were enacted by women only.
( 1887-1968) Marguerite and her husband William
were both devoted to bringing Fauvism to America.
Her pear floats in an abstract combing my figurative
work with her landscape. ( she made me do it!)
She and her husband William would paint on both
sides of a canvas, I enlisted my husband Jim to
paint a fragment of her work to honor them, thus
it is shown with a two sided framing.
I am grateful to the artist I referenced and all
women artist- my predecessors and
contemporaries for their creative impulses
and inspiration. I hope that my efforts and
this series, honor their achievements and
serve as a tribute to them. I intend to
continue this project through more research
into each woman’s life and their work to
further communicate their stories through
lectures, print materials and exhibitions.
Coni Minneci 1950-
Slide 28
From Sofonisba Anguissola to Marguerite Thompson Zorach
26 Still Life Paintings using the Pear as a
Metaphor for their work and their lives.
By Coni Minneci
My awareness of the inequities that have historically plagued
the recognition and accomplishments of women artist
compelled me in 2001 to write a paper entitled “ Women in
Art history: A – Z”, as a part of my studies at Empire College.
A few years later, the painting series was begun. These 26
paintings, created over a period of three years, was the result
of my reflection on the notes and other documentation that I
had gathered, and allowing the work and life of each of these
women to influence me and inspire an original still life
painting. Working with subliminal impulses and intuitive
thought, I conceived each work. Some came easily, and others
were perplexing visual challenges.
A woman renowned in her own time as a portrait
artist. I hid her image within this simple
composition as she hid a woman in her self
portrait. Can you find her?
“Self Portrait at the
Clavichord” 1561
Ahhh, Jennifer, stardom at a young age in the art
circles of America. Symphony of visual poetry,
simplified shapes, rhythm and repetition. A star in
the spotlight.
Detail from “Rhapsody” 1975
This outspoken Feminist artist has written seven
books and is exhibited world wide. I did to the
pear what I believe she thinks the history of art
has done to women.
“The Dinner Party” 1979 Five years in
the making, this installation recognizes the
accomplishments of 39 women in history.
Included in this image are fragments from her
early “Cubist Quilt” art, the thread floats within the
painting, representing three segments of her life:
artist-mother-wife.
A scene form the film “Le p’tit Parigot” (1926) with
costumes by Sonia and paintings on the wall by
Robert.
Her talent was hidden until the death of her
famous artist husband, Thomas Eakins. Color is
limited and an unopened flower is a symbol of
her talent waiting to bloom.
“Two Sisters” 1879 oil on canvas
Successful in the times she lived in, an amazing
figurative painter, she challenged me to try to
paint contrasting textures. This small attempt
tries to honor her.
“Portrait of a Noblewomen” 1580 National
Museum of Women in the Arts, Washington D.C.
A Buffalo artist whose work transcends space and
time. Her pear has floating text, and a small
globe, just a peak into Gordon’s world.
“Presenting Evidence” Albright-Knox Art Gallery
2002, a recreation of Gordon’s studio.
A woman who abandoned Abstract Expressionism
to investigate “Painting Art History. My image is
reactionary to her early works regarding
advertisement in America .
“December Second” 1959 Oil on Canvas
48 x 72 in.
NMWA
Responding to her book: “Juchitan de las Mujeres”, I
painted pears reflecting the strong-willed large bodies
women, the matriarchal community in her photoessay, who preserve their culture and traditions.
Juchitan de las Mujeres 1989 A community in
the far south of Mexico, with Zapotec-influences.
The title “Queen Mother” of African American Art was
bestowed upon her by her students & admirers.
Struggles against prejudice and criticism forced her to
have multiple identities as she grew in her art, so too
the pear.
“Ode to Kinshasa” 1972 Mixed Media on canvas
48 x 63 in. NMWA
Experiments with computer technology led Krause and
two women artists to form “Digital Atlelier”, a
printmakers group online. Forcing me to think another
way, the result has the pear open to new methods and
ideas.
Digital Atelier Exhibit , 2005, New Bedford Art
Museum
Little known Dutch painter, her work has often
been confused with Fans Hals. Her amusing
imagery prompted me to have fun with veggies
and her pear. Note: JL not F H!!
“The Concert” ca. 1633 Oil on Canvas NMWA
Working with wood and real found objects , often
including images of herself, Marisol’s work results
in ambiguous ironic , haunting sculptures, thus
this image with my wooden blocks.
“Women and dog” 1964 Wood, plaster, synthetic
polymer, and various media. Whitney museum of
American Art, NYC
Her figurative work has been described as consistent,
serious and an innovative body of work. Responding to
her encouragement, I included fragments of my “Diva”
series with her pear.
“Charlotte Willard” (detail) 1967, “Mary
Shoemaker” (detail) 1965, “Faith Ringgold” (detail)
1977 New Realism/”slyly psychological portraits”
Yes, the wife of Beatle John Lennon did something
else besides help break up the most popular band
in the world. Her pear floats in mystery.
A detail of Yoko Ono’s “Touch me III,”
2008, pre damage. NYC
Little known Irish painter working in oil, with
influences of Degas in some of her work. As she
did I looked to Degas for guidance .
“Trees by the Dodder” Oil on Canvas
Working in paint & collage, she voices concern for
Indian people & the land that was once theirs.
Sadly, I did to the pear what has been done to her
people.
“I See Red: Snowman,” 1992 oil and mixed media
on canvas. Examines American Indian life in
contrast to the consumerism of American society.
With WNY connections, a world collected artist, her
pear reflects the personal expressionism found in
her work.
“Provenance/ Two-Tone” 1975 Acrylic and
tempera on canvas AKG 60 x 113 in. “Seeking to
reconcile a new interest in imagery with the
vocabulary of abstraction…”
One of the founders of Hallwalls, Buffalo, NY, her
“Untitled Film Series” is in MOMA’s collection. Her pear
sits amidst garbage, in response to her Fairytales and
Disasters Series, Garbage is painted with unexpected
results.
Disaster Series: “Untitled #188” 1989
43 ¼ x 65” Cindy is absent from this
garbled image.
Known for her work in geometric forms, collected
world wide, including AKG. Her work inspired a
pear to be cut up and arranged with a particular
sense of design.
“Composition of circles and Semicircles” 1953
Gouache on paper, 10 x 13 ½” NMWA
Photographer of over 3,000 images of people, crafts
and landscapes the Appalachian Mountains, using
archaic large-format cameras. I was prompted to work
slowly, outdoors in limited color.
“Jason Reed” 1933, a chair
maker from North Carolina,
working wood on the shave
horse.
Dedicated to the Surrealist movement in the 1930’s, an
excellent draftswoman,Varo’s work included distorted
perspectives & unexplained narratives. Her pear floats
within a fragment of her work: “The Creation of Birds”.
“Vagabond” 1957 Oil on
Masonite 22 x 10 5/8 in.
Little known British painter of portraits, flowers
and seascapes, her technique reflected
impressionism. Called the best woman artist of
that time. I bowed to paint her pear with flowers.
Portrait: “ The hon. Mrs. Adams”
Circa 1901 oil on canvas
Vienna born figurative painter, Hausner calls her
work, “human landscapes.” My reaction: to paint a
“still life landscape” using fruit to contrast the
faded landscape.
“Lola” hand-painted lithograph
35 ½ x 45 ¼ in.
A successful British photographer, she dressed her
clients as Mythological Creatures and Goddesses.
So, her pear was donned with jewels, befitting
some mysterious subject.
Lady Dorothy Warrender as
“Ceres”, the ancient Italian CornGoddess. These grain mysteries
were enacted by women only.
( 1887-1968) Marguerite and her husband William
were both devoted to bringing Fauvism to America.
Her pear floats in an abstract combing my figurative
work with her landscape. ( she made me do it!)
She and her husband William would paint on both
sides of a canvas, I enlisted my husband Jim to
paint a fragment of her work to honor them, thus
it is shown with a two sided framing.
I am grateful to the artist I referenced and all
women artist- my predecessors and
contemporaries for their creative impulses
and inspiration. I hope that my efforts and
this series, honor their achievements and
serve as a tribute to them. I intend to
continue this project through more research
into each woman’s life and their work to
further communicate their stories through
lectures, print materials and exhibitions.
Coni Minneci 1950-
Slide 29
From Sofonisba Anguissola to Marguerite Thompson Zorach
26 Still Life Paintings using the Pear as a
Metaphor for their work and their lives.
By Coni Minneci
My awareness of the inequities that have historically plagued
the recognition and accomplishments of women artist
compelled me in 2001 to write a paper entitled “ Women in
Art history: A – Z”, as a part of my studies at Empire College.
A few years later, the painting series was begun. These 26
paintings, created over a period of three years, was the result
of my reflection on the notes and other documentation that I
had gathered, and allowing the work and life of each of these
women to influence me and inspire an original still life
painting. Working with subliminal impulses and intuitive
thought, I conceived each work. Some came easily, and others
were perplexing visual challenges.
A woman renowned in her own time as a portrait
artist. I hid her image within this simple
composition as she hid a woman in her self
portrait. Can you find her?
“Self Portrait at the
Clavichord” 1561
Ahhh, Jennifer, stardom at a young age in the art
circles of America. Symphony of visual poetry,
simplified shapes, rhythm and repetition. A star in
the spotlight.
Detail from “Rhapsody” 1975
This outspoken Feminist artist has written seven
books and is exhibited world wide. I did to the
pear what I believe she thinks the history of art
has done to women.
“The Dinner Party” 1979 Five years in
the making, this installation recognizes the
accomplishments of 39 women in history.
Included in this image are fragments from her
early “Cubist Quilt” art, the thread floats within the
painting, representing three segments of her life:
artist-mother-wife.
A scene form the film “Le p’tit Parigot” (1926) with
costumes by Sonia and paintings on the wall by
Robert.
Her talent was hidden until the death of her
famous artist husband, Thomas Eakins. Color is
limited and an unopened flower is a symbol of
her talent waiting to bloom.
“Two Sisters” 1879 oil on canvas
Successful in the times she lived in, an amazing
figurative painter, she challenged me to try to
paint contrasting textures. This small attempt
tries to honor her.
“Portrait of a Noblewomen” 1580 National
Museum of Women in the Arts, Washington D.C.
A Buffalo artist whose work transcends space and
time. Her pear has floating text, and a small
globe, just a peak into Gordon’s world.
“Presenting Evidence” Albright-Knox Art Gallery
2002, a recreation of Gordon’s studio.
A woman who abandoned Abstract Expressionism
to investigate “Painting Art History. My image is
reactionary to her early works regarding
advertisement in America .
“December Second” 1959 Oil on Canvas
48 x 72 in.
NMWA
Responding to her book: “Juchitan de las Mujeres”, I
painted pears reflecting the strong-willed large bodies
women, the matriarchal community in her photoessay, who preserve their culture and traditions.
Juchitan de las Mujeres 1989 A community in
the far south of Mexico, with Zapotec-influences.
The title “Queen Mother” of African American Art was
bestowed upon her by her students & admirers.
Struggles against prejudice and criticism forced her to
have multiple identities as she grew in her art, so too
the pear.
“Ode to Kinshasa” 1972 Mixed Media on canvas
48 x 63 in. NMWA
Experiments with computer technology led Krause and
two women artists to form “Digital Atlelier”, a
printmakers group online. Forcing me to think another
way, the result has the pear open to new methods and
ideas.
Digital Atelier Exhibit , 2005, New Bedford Art
Museum
Little known Dutch painter, her work has often
been confused with Fans Hals. Her amusing
imagery prompted me to have fun with veggies
and her pear. Note: JL not F H!!
“The Concert” ca. 1633 Oil on Canvas NMWA
Working with wood and real found objects , often
including images of herself, Marisol’s work results
in ambiguous ironic , haunting sculptures, thus
this image with my wooden blocks.
“Women and dog” 1964 Wood, plaster, synthetic
polymer, and various media. Whitney museum of
American Art, NYC
Her figurative work has been described as consistent,
serious and an innovative body of work. Responding to
her encouragement, I included fragments of my “Diva”
series with her pear.
“Charlotte Willard” (detail) 1967, “Mary
Shoemaker” (detail) 1965, “Faith Ringgold” (detail)
1977 New Realism/”slyly psychological portraits”
Yes, the wife of Beatle John Lennon did something
else besides help break up the most popular band
in the world. Her pear floats in mystery.
A detail of Yoko Ono’s “Touch me III,”
2008, pre damage. NYC
Little known Irish painter working in oil, with
influences of Degas in some of her work. As she
did I looked to Degas for guidance .
“Trees by the Dodder” Oil on Canvas
Working in paint & collage, she voices concern for
Indian people & the land that was once theirs.
Sadly, I did to the pear what has been done to her
people.
“I See Red: Snowman,” 1992 oil and mixed media
on canvas. Examines American Indian life in
contrast to the consumerism of American society.
With WNY connections, a world collected artist, her
pear reflects the personal expressionism found in
her work.
“Provenance/ Two-Tone” 1975 Acrylic and
tempera on canvas AKG 60 x 113 in. “Seeking to
reconcile a new interest in imagery with the
vocabulary of abstraction…”
One of the founders of Hallwalls, Buffalo, NY, her
“Untitled Film Series” is in MOMA’s collection. Her pear
sits amidst garbage, in response to her Fairytales and
Disasters Series, Garbage is painted with unexpected
results.
Disaster Series: “Untitled #188” 1989
43 ¼ x 65” Cindy is absent from this
garbled image.
Known for her work in geometric forms, collected
world wide, including AKG. Her work inspired a
pear to be cut up and arranged with a particular
sense of design.
“Composition of circles and Semicircles” 1953
Gouache on paper, 10 x 13 ½” NMWA
Photographer of over 3,000 images of people, crafts
and landscapes the Appalachian Mountains, using
archaic large-format cameras. I was prompted to work
slowly, outdoors in limited color.
“Jason Reed” 1933, a chair
maker from North Carolina,
working wood on the shave
horse.
Dedicated to the Surrealist movement in the 1930’s, an
excellent draftswoman,Varo’s work included distorted
perspectives & unexplained narratives. Her pear floats
within a fragment of her work: “The Creation of Birds”.
“Vagabond” 1957 Oil on
Masonite 22 x 10 5/8 in.
Little known British painter of portraits, flowers
and seascapes, her technique reflected
impressionism. Called the best woman artist of
that time. I bowed to paint her pear with flowers.
Portrait: “ The hon. Mrs. Adams”
Circa 1901 oil on canvas
Vienna born figurative painter, Hausner calls her
work, “human landscapes.” My reaction: to paint a
“still life landscape” using fruit to contrast the
faded landscape.
“Lola” hand-painted lithograph
35 ½ x 45 ¼ in.
A successful British photographer, she dressed her
clients as Mythological Creatures and Goddesses.
So, her pear was donned with jewels, befitting
some mysterious subject.
Lady Dorothy Warrender as
“Ceres”, the ancient Italian CornGoddess. These grain mysteries
were enacted by women only.
( 1887-1968) Marguerite and her husband William
were both devoted to bringing Fauvism to America.
Her pear floats in an abstract combing my figurative
work with her landscape. ( she made me do it!)
She and her husband William would paint on both
sides of a canvas, I enlisted my husband Jim to
paint a fragment of her work to honor them, thus
it is shown with a two sided framing.
I am grateful to the artist I referenced and all
women artist- my predecessors and
contemporaries for their creative impulses
and inspiration. I hope that my efforts and
this series, honor their achievements and
serve as a tribute to them. I intend to
continue this project through more research
into each woman’s life and their work to
further communicate their stories through
lectures, print materials and exhibitions.
Coni Minneci 1950-