File:Wendy Edwards Urchin 2013.jpg

Painting by Wendy Edwards, Urchin (oil on canvas, 60" x 48", 2013). The image illustrates a key earlier body of work in Wendy Edwards's career from the late-1990s and later: her "Nets" and Veils" series, which were strongly influenced by the 1970s Pattern and Decoration movement and its embrace of ornamentation, repetition, edge-to-edge composition, sensuality and women's life experience. These layered paintings featured delicate, lattice-like patterns and jewel-like surfaces (create by extruding paint with pastry tools) applied over looping swirls of wet underpainting to develop contrasts involving surface, form, depth and embellishment as the "nets" separate, break or blend in. In subsequent net paintings, such as this work, Edwards introduced vase-like forms as metaphorical stand-ins for the female body. This body of work was publicly exhibited in prominent exhibitions, discussed in major art journals and daily press publications and acquired by major museums.

Artist Wendy Edwards. Copyright held by the artist.

Wendy Edwards

Entire artwork

Yes

The image serves an informational and educational purpose as the primary means of illustrating a key body of work in Wendy Edwards's career dating from the late-1990s and later, when she produced her "Nets" and Veils" series, paintings strongly influenced by the 1970s Pattern and Decoration movement and its embrace of ornamentation, repetition, edge-to-edge composition, sensuality and a feminist vision grounded in women's life experience. These paintings emphasized surfaces and the materiality of paint, a rhythmic use of linear or geometric elements, and spatial ambiguity, while exploring notions of exposure and coverage, containment and seepage. Edwards generally began them with large, looping swirls of wet underpainting applied with a rag or wide brush, over which she squeezed out stringy extrusions of rounded paint lines using pastry tools; the fragile, sometimes breaking tendrils seem to knot briefly at intersections and expand or contract across surfaces, suggesting latticeworks, webs, veils or fishnets undulating underwater. Because the article is about an artist and her work, the omission of the image would significantly limit a reader's understanding and ability to understand this major body of endeavor, which brought Edwards ongoing recognition through exhibitions and coverage by major critics and publications. Edwards's work of this type and this series is discussed in the article and by critics cited in the article.

There is no free equivalent of this or any other of this series by Wendy Edwards, so the image cannot be replaced by a free image.

The image will not affect the value of the original work or limit the copyright holder's rights or ability to distribute the original due to its low resolution and the general working of the art market, which values the actual work of art. Because of the low resolution, illegal copies could not be made.