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Untitled, from the portfolio Women Are Beautiful

Garry%20Winogrand%2C%20%3Cb%3E%3Ci%3E%20Untitled%2C%20from%20the%20portfolio%20Women%20Are%20Beautiful%3C%2Fi%3E%3C%2Fb%3E%2C%20ca.%201966%20%28negative%29%3B%201981%20%28print%29%2C%20gelatin%20silver%20print%2C%20Gift%20of%20Rick%20A.%20Cigel%2C%20%26%23169%3B%20The%20Estate%20of%20Garry%20Winogrand%2C%20courtesy%20Fraenkel%20Gallery%2C%20San%20Francisco%2C%201998.61.32
Garry Winogrand, Untitled, from the portfolio Women Are Beautiful, ca. 1966 (negative); 1981 (print), gelatin silver print, Gift of Rick A. Cigel, © The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San Francisco, 1998.61.32

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Details
Title

Untitled, from the portfolio Women Are Beautiful

Related Titles

portfolio: Women Are Beautiful

Artist

Garry Winogrand (American, 1928-1984)

Related People

related: Jonathan Brand (American, born 1933)

related: Henri Matisse (French, 1869-1954)

related: Arnaldo Pomodoro (Italian, born 1926)

Date

ca. 1966 (negative); 1981 (print)

Medium

gelatin silver print

Edition

19/80

Dimensions (H x W x D)

image: 8 13/16 in x 13 1/8 in; sheet: 11 in x 13 15/16 in

Inscriptions & Markings

edition: 19/80, graphite, lower left

signature: Garry Winogrand, graphite, verso

Collection Area

Photography

Category

Books, Portfolios, and Manuscripts

Photographs

Object Type

photograph

Culture

American

Credit Line

Gift of Rick A. Cigel

Accession Number

1998.61.32

Copyright

© The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San Francisco

Terms

gelatin silver prints

museums

photographs

Description

Brand recalls visiting the Museum of Modern Art with Winogrand after lunch one afternoon in 1966, where both photographed in the lobby. Winogrand captured a young woman sitting demurely on a sofa while writing, one foot slipping out of her shoe. An Arnaldo Pomodoro sphere sculpture figures prominently behind her, almost obscuring Henri Matisse's painting Dance (I). Less interested than Winogrand in the seated woman, Brand moved quickly across the lobby to capture a worker as he moved a cigarette machine past Dance (I), his pose mirroring those of the painted figures behind him.

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