Francesca Woodman's love of dessert was well-known to her family and friends, often coming up in letters or conversations, and even in two paintings she made in the late 1970s.

George Woodman and Betty Woodman began their nearly seven decade relationship in life and art in 1950. While Betty was on a year-long solo trip to Fiesole, Italy from 1951-52, the two regularly exchanged passionate love letters and affectionate notes.

Betty Abrahams Woodman was raised with her sister in Newton, Massachusetts by their “liberal, anti-religious and culturally ambitious” parents who fostered in their daughters the importance of responsibility and self-determination. This New Year’s card from the late 40s - early 50s reveals a young Betty with her family.

From his early abstract paintings to more recent painted photographs, color was a powerful and continuous thread in George Woodman’s work. Even as his focus shifted to black and white photography, Woodman never abandoned his interest in color, instead finding ways to create unexpected dialogues between and across media.

LAST CHANCE to see Francesca Woodman in "The Body Electric" at the National Gallery of Australia!

Learn from our Executive Director, Lissa McClure, about ways the Foundation continues to support and steward the legacies of Betty Woodman, Francesca Woodman and George Woodman, while working from home.

Francesca Woodman often used the backs of her photographs to write letters to family and friends, addressing, stamping and dropping her prints directly into the mailbox. In this exchange between her and George from April 1977, they discuss her first forays into fashion photography and other news from Providence and Boulder.

After acquiring a loft in New York City in 1980, Betty and George began to split their time between homes and studios in Manhattan, Boulder, Colorado and Antella, Italy—a way of living that became vital to their work. A 1984 feature on the couple in the magazine Metropolis chronicles their dynamic lives, relationship and art.

LAST CHANCE to see "Francesca Woodman: New York Works" in Venice this week! On view through Saturday, December 12, 2020 at Victoria Miro Venice.

A former wine cellar underneath the family's stone farmhouse in Antella, Italy was transformed in to a new photography and painting studio for George Woodman, with surrounding views of the Tuscan countryside.

Betty Woodman’s "Chinese Pleasure" (2007-2008) was commissioned by the U.S. Department of State Art in Embassies Program for the United States Embassy in Beijing. Woodman was inspired by and freely borrowed from visual influences all over the world and throughout art history, here incorporating three distinct moments in the history of Chinese art, ranging from Sichuan bronzes to popular culture into this dramatic installation.

From 1972-1973, Francesca Woodman studied at Abbot Academy, one of the few high schools in the US at the time to offer a concentrated art program. It was there that Francesca met Wendy Snyder MacNeil, her earliest, highly influential teacher who introduced her to the creative and expressive capabilities of photography.