File:Wendy Edwards Georgia Peach 1989.jpg

Painting by Wendy Edwards, Georgia Peach (oil on canvas, 80" x 72", 1989).The image illustrates a key earlier body of work in Wendy Edwards's career from the late 1980s and 1990s: her monumental, vibrant, tactile paintings rooted in organic forms that ranged from representation to free-form abstraction. Critics described them as unabashed sensual depictions of fruit and other organic forms that suggested feminine fertility symbols and served as metaphors for life events involving sexuality, gender relations and motherhood. They were often painted in roundhouse strokes and vivid colors, with initial forms that doubled as abstracted genitalia—as in this work—or that gave way to expanding and concentric, erratic undulations. 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 earlier body of work in Wendy Edwards's career dating from the late 1980s and 1990s, when she produced vibrant, tactile paintings rooted in organic forms that ranged from representation to free-form abstraction. These works often consisted of sensual depictions—described as monumental, unabashed cutaway views of fruit and other forms—that responded to life events such as sexuality, gender relations and motherhood, as well as to the physical and manipulative possibilities of her materials. Critics related this work to early modernists who explored boundaries between still life and abstraction (e.g., Georgia O'Keefe, Arthur Dove and Marsden Hartley) and to the athletic action painting of artists like Willem de Kooning. 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 new 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.