Women in art [LCSH]]]> Landscape painting--United States. [LCSH]]]> Side A depicts deciduous trees in summertime. There are two distinct frames in this painting. In the left-hand frame is a grove of what look to be paper birch trees; there are five, thin trees. They are white, with blue-gray shading and green foliage created by dabbing spots of green paint with a wet brush. Variations in the ratio of pigment to water create different shades of green for the foliage and the crowns are somewhat sparse and airy. The tree trunks and branches are angular and formed from straight lines. The foreground here is dark brown and green. At the base of the trees there are small white circular shapes in clusters connected by white lines. This effect may have been created with the use of masking fluid. Also at the base of the trees is dark green spattering as well as more solid-looking blobs in the same dark green; this may be representative of shrubs. The remainder of the land surrounding the trees is flat and grass-covered and painted in muted, transparent browns and greens, and the sky here is painted in varying saturations of pale blue. The right-hand frame shows a different type of tree, with deep brown bark accented with black lines which run from the roots of the tree to the uppermost branches. The tree has four visible roots and three main branches. This tree is curvy, with soft angles and lines and has an impression of massiveness. It's painted close to the foreground, and there are reddish-brown splotches around the base of the tree that probably represent bushes, perhaps dogwoods, although the could be any number of things. There are also errant purple spatters of paint in the foreground of this frame (which creep ever so slightly into the left-hand frame also). The foliage on this tree is a deeper, darker green and more saturated. The horizon behind the tree is irregular; in some places along the same axis grass is depicted behind the tree, and in some places, deep blue sky. This was probably considered a mistake and not intentional, however, this piece appears to have been created for practice and not intended to be a polished piece. (For example, a large portion of all four corners of the paper are white, where the paper was taped down to the working surface.) The shade of grass in the background differs slightly between the two frames here, being darker on the right-hand side, and lighter on the left. There are occasional burgundy spatters across the right hand frame which creep over somewhat into the left-hand frame, probably unintentionally. There's some embossed lettering-- TH SAU, perhaps?-- probably spelling out the brand of the paper, in the bottom, left-hand corner.
The painting on the other side of the paper shows the scene with waterlilies. There are two flowers, one in the center foreground, and one in the right background (in the upper right quadrant of the painting). Both flowers are white, with thin, elongated petals and gold-yellow stamens. Shading on the flower petals is conveyed via blue and blue-gray highlights. There are a total of eight lily pads in all, and they are a dark green; the lily pads farthest in the background have a slighter lighter saturation than those in the front. The stems of the lilies are represented as broken, usually squiggly lines and appear throughout the picture. The background in this image is composed of shades of deep burgundies and blue, with blue concentrated primarily in the foreground, with the transition to primarily burgundy taking place somewhere in the middleground. The background fades near the right and left edges of the painting, as the wet paint appears to have been pulled from the center of the paper toward the edges; nor does the paint extend in all places to the edge of the paper at the top and bottom of the painting.
The edges of the paper are irregular and rough on two of the four sides; on the lily pad painting, the rough edges are the bottom and left, and they are the right and bottom on the tree painting side. The paper seems to be medium weight, cold pressed.]]> JG_0021b]]> Tumblers (Drinking glasses) [LCSH]
Still-life painting [LCSH]]]> Japan--civilization--20th century. [LCSH]
Japan--civilization--pictorial works [LCSH]
Japanese in art [LCSH]
]]> Smoking in art [LCSH]]]> Surrealism [LCSH]
Self-portraits [LCSH]
Female nude in art [LCSH]
Women in art [LCSH]]]> Nude Landscape I (bottom, left corner) and signed her name (as J. Gillett) in the bottom, right-hand corner. There are several strips of invisible, acetate tape along the left edge of the painting, as well as tape along the bottom and across each corner except the top left. There is some slight discoloration of the paper itself, which is obvious in places that were left unpainted. The paper was clearly removed from a spiral bound pad, which was bound at the top; the tabs from the spiral binding are largely still attached. The paper is somewhat crinkled in a few places, as well and a small chunk is missing from the top left corner. The paper is medium-lightweight with a medium grain and is portrait-orientation, taller than it is wide.]]> Landscape painting--United States. [LCSH]
Trees in art [LCSH]
]]> Flowers in art [LCSH]]]> [Watercolor study of purple flowers I]]]> Foot in art [LCSH]
Surrealism [LCSH]]]> Flowers in art [LCSH]]]> [Watercolor study of purple flowers II]]]>