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(Self-Portrait), which is based on Sophie
Gengembre Anderson’s painting of
Scheherazade telling her story of One
Thousand and One Nights. In Dellosso’s
work, she takes on the role of Scheherazade
and tells the story instead of Anderson’s
artwork by painting scenes from her pieces
around the central fi gure.
Dellosso also painted her largest work
in the series, The Burning of Adelaide
Labille-Guiard’s Masterpiece (Self-Portrait
Homage series), based on the story she
read in Women Artists 1550-1950. In
her piece, measuring 70 by 105 inches,
Dellosso shows a grieving Labille-Guiard
as her historic masterpiece burns in the
background.
She has even moved beyond the classic
portraiture style when paying homage
to women still life artists in Homage
Composition to: Anna Vallayer Coster
(French 1744-1818), Clara Peeters (Dutch,
active panting 1607-1750), and Rachel
Ruysch (Dutch 1664-1750). “In this work
I used the objects that they used in their
paintings and put the three of them together
in one giant still life,” Dellosso explains.
“You kind of have to look at the painting and
study the objects to see their still lifes in the
painting. It’s kind of an entire combination
of their still lifes, but you still have my refl ec-
tion in a little tiny mirror and my initials a
couple of times in there.”
On August 31, the Heckscher Museum of
Art opened a solo exhibition for the artist
titled A Brush with HerStory: Paintings by
Gabriela Gonzalez Dellosso featuring 20
works from the grouping. After closing
on November 10 it traveled to Lakeland,
Florida-based Polk Museum of Art,
opening December 14. It will hang there
through April 12. The idea for the show is
to bring these women artists to a larger
audience as well as highlight Dellosso’s
contemporary viewpoint.
“It’s a message that these women did
contribute to art history and that they can
2
The Burning of Adelaide
Labille-Guiard’s
Masterpiece (Self-Portrait
Homage series), oil
on linen, 70 x 105".
Collection of Gary Erbe.