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L to R: 1: “Chandelier”, 2004. Glass, gold, painted aluminum, wire and light bulbs, 24 x 71 x 31 inches, detail view | 2: “Chandelier”, 2004 | 3: Excerpt, correspondence between Betty Woodman’s studio and vendors, January 2004 | 4: Excerpt, correspondence between Betty Woodman’s studio and vendors, May 2004 | 5: Liquid gold samples, fired at 620° C for 30 min. | 6: Betty Woodman’s notes | 7: “La Coupe des Plaisirs”, 2003/2004. Glass, gold | 8: Packing list, Reusche & Co., 2007 | 9: “Charpentier”, 2007. Glazed soft-paste porcelain | 10: “Rosa Bonheur”, 2007. Glazed soft-paste porcelain | 11: “Chardin”, 2007. Porcelain | 12: Gold foil samples, Italy | 13: "Santa Maria Della Quercia Drawing”, 2005. Terra sigillata, ink and gold leaf on paper. Woodman Family Foundation Archives. All artworks by Betty Woodman © Woodman Family Foundation / ARS, New York
Betty Woodman, detail of “Chandelier”, 2004, 24x71x31 in. Glass, gold, painted aluminum, wire and light bulbs © Woodman Family Foundation / ARS, New York
Betty Woodman's pursuit of gold
Betty Woodman's creative process was deeply informed by travel and she often returned home with ideas sparked by experiences working abroad, drawing inspiration from the techniques she encountered during residencies. An example of these influences is Woodman’s pursuit of the radiant gold that appears throughout her work.
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L to R: 1: Agnes Gund and Betty Woodman, Antella, Italy, c. 2000s | 2: Agnes Gund and George Woodman, Italy, c. 1990s. Woodman Family Foundation Archives.
Agnes Gund and Betty Woodman, Antella, Italy, c. 2000s. Woodman Family Foundation Archives
Celebrating the life and impact of Agnes Gund
Tireless advocate and patron saint of art and social justice. Devoted friend and supporter to so many artists, curators, and institutions, including Betty Woodman and George Woodman and many of our Board members. Equity-focused creator of Studio in a School and the Studio Institute, whose summer interns we've been fortunate to host for many years.
L to R: 1: George Woodman. “Paper Tilings,” 1981. Installation view, Wright State University, Dayton, OH, 1981 | 2, 3: Correspondence from Betty to George, 1952. Woodman Family Foundation Archives | 4: Detail from “Paper Tilings,” 1981, Wright State University | 5: Henri Matisse. “La Vierge et l’Enfant,” 1950. From “Matisse: From Color to Architecture” | 6: George Woodman. Paper tiles, 1980. Installation view, Denver Art Museum, Denver, CO, 1980 | 7: Henri Matisse. “L’Oiseau,” 1946. From “Matisse: From Color to Architecture” | 8: Spread from “Matisse: From Color to Architecture” | 9: Chapelle du Rosaire, Vence, France. Photo © David Huguenin | 10: George Woodman. “Sentimental Geometry,” 1981, 120 x 252 in. Hand-painted paper tiles. Installation view, Yellowstone Art Center, Billings, MT, 1981 | 11: Chapelle du Rosaire, Vence, France. Photo © Musée Matisse de Nice | 12: Betty Woodman. “The Chapel,” 2011, 105 x 86 x 13 in. Glazed earthenware, epoxy resin, lacquer, acrylic paint, wood, canvas | 13: Henri Matisse. “L’Arbre de Vie,” 1949. From “Matisse: From Color to Architecture” | 14: Betty Woodman. “Windows of Matisse,” 2005, 37 x 44 1/2 x 7 1/2 in. Glazed earthenware, epoxy resin, lacquer, paint | 15: Page from “Paper Tilings by George Woodman,” 1981 | 16: “Matisse: From Color to Architecture” by René Percheron and Christian Brouder, 2004. Works by Matisse © Succession H. Matisse / Artists Rights Society (ARS), New York. Works by Betty Woodman and George Woodman © Woodman Family Foundation / ARS, New York
George Woodman. “Paper Tilings,” 1981. Installation view, Wright State University, Dayton, OH, 1981 © Woodman Family Foundation / ARS, New York
Matisse’s influence on the Woodman family: La Chapelle du Rosaire
Matisse’s influence on the Woodman family is evident not only in the joie de vivre and cut-out forms of Betty Woodman’s ceramic sculptures, but also in the architectural sensibilities that inform both her and George Woodman’s work.
L to R: 1: Francesca Woodman. “Untitled,” 1976, 6 1/2 x 7 in. Gelatin silver print | 2: Betty Woodman. “Beach Girls,” 2013, 21 x 31 1/2 in. India ink, clay, pencil and acrylic paint on paper | 3: Francesca Woodman. “Untitled,” 1976, 6 3/8 x 6 3/8 in. Gelatin silver print | 4: Betty Woodman. “At the Beach,” 2007, 50 x 84 1/2 x 0 1/2 in. Glazed earthenware, canvas, terra sigillata | 5: Francesca Woodman. “Seashore Circle,” 1976, 5 3/16 x 5 3/16 in. Gelatin silver print | 6: Betty Woodman. “Balustrade Relief Vase: 97-8,” 1997, 57 x 62 x 9 in. Glazed earthenware | 7: George Woodman. “Betty at the Seashore,” 1995, 12 x 9 1/2 in. Gelatin silver print | 8: Betty Woodman. “Low Triptych: Seaside Still Life,” 2006, 24 1/2 x 74 1/2 x 9 in. Glazed earthenware, epoxy resin, lacquer, acrylic paint | 9: Francesca Woodman. “Untitled,” c. 1979-80, 6 1/2 x 9 5/8 in. Gelatin silver print | 10: Betty Woodman. “Posing with Vases at the Beach,” 2008, 33 x 81 x 6 3/4 in. Glazed earthenware, epoxy resin, lacquer, paint | 11: Betty Woodman. “Conversations on the Shore,” 1994, 84 x 142 x 53 in. Glazed earthenware, epoxy resin, lacquer, paint © Woodman Family Foundation / Artists Rights Society (ARS), New York
Francesca Woodman. “Untitled,” 1976, 6 1/2 x 7 in. Gelatin silver print © Woodman Family Foundation / Artists Rights Society (ARS), New York
The Woodmans and the alluring shores
Betty Woodman, Francesca Woodman, and George Woodman also succumbed to the lure of beaches and seashores in their work, each artist reimagining the beachscape with a distinct sensibility and overlapping visual languages.
L to R: 1: Betty Woodman. “Lake View,” 2013, 60 x 46 x 11 1/2 in. Glazed earthenware, epoxy resin, lacquer, acrylic paint, wood, canvas | 2: George Woodman. “Love Nests at Lake Lemon,” 1962, 38 x 50 in. Oil on canvas | 3: Francesca Woodman. “Untitled,” 1979, 3 13/16 x 3 13/16 in. Gelatin silver print | 4: Betty Woodman. “Lago di Como,” 1995, 26 1/2 x 43 1/2 x 10 1/2 in. Glazed earthenware | 5: George Woodman. “Untitled,” c. 2000, 19 1/8 x 10 in. Gelatin silver print | 6: Betty Woodman. “Deco Lake Shore,” 2002, 24 x 50 in. Terra sigilatta, wax, acrylic paint, graphite on paper. Collection of the Metropolitan Museum of Art, New York. | 7: Francesca Woodman. “Untitled,” c. 1972-75, 3 7/8 x 5 7/8 in. Gelatin silver print | 8: George Woodman. “Swimming at Kippy Stroud’s,” 2002, 16 x 20. Gelatin silver print | 9: Francesca Woodman. "Untitled," c.1979-80, 4 1/2 x 4 3/4 in. Gelatin silver print © Woodman Family Foundation / Artists Rights Society (ARS), New York
Betty Woodman. “Lake View,” 2013, 60 x 46 x 11 1/2 in. Glazed earthenware, epoxy resin, lacquer, acrylic paint, wood, canvas © Woodman Family Foundation / Artists Rights Society (ARS), New York
The Woodmans and the serenity of lakes
This summer, take in the fluid beauty of water as seen through the eyes of Betty Woodman, George Woodman, and Francesca Woodman.
L to R: 1: “Azulejas - Oribe Memory,” 2003, 34 x 68 x 9 in. | 2: Portuguese Tile Vases & Their Audience,” 2001, approx. 35 x 38 x 8 in. | 3: Azulejaria barroca portuguesa: Figuras de convite” by Luísa Arruda, 1993; “Waves of influence: cinco séculos do azulejo português” by Olivia Georgia, 1995; “Caminho do oriente: Guia do azulejo” by Luísa Arruda, 1998; “Azulejaria portuguesa” by José Meco, 1985 | 4: “Portuguese Vases,” 2005, 17 x 87 x 7 in. | 5: “Chinese and Vietnamese Ceramics with Highlights from The Brow Collection.” Published by Zetterquist Galleries, 2017 | 6: “The Ming Sisters,” 2003, 32 x 81 x 8 in. | 7: “Blue Girl,” 2005, 30 x 70 x 9 in. | 8: “Untitled #15 [Study for Edition by Sèvres, Blue],” 2011/2012, 2 1/2 x 8 x 4 1/2 in. | 9: “Persian Pillow Pitcher No. 6,” 1981 | 10: “Persian Ceramics and Related Materials” by Eric J. Zetterquist, 1993 | 11: “Pillow Pitcher: Delft,” 1996, 24 x 26 x 23 in. | 12: “Divided Vases: Classic Vases - Observed,” 2002, 30 x 29 x 10 1/2 in. | 13: “Baroque Diptych,” 2001, 36 x 63 x 8 in. | 14: “Kimono Vases: October,” 1990, 30 3/4 x 43 x 9 1/2 in. | 15: “Vase and Shadow: Spiral Vase with Blue Shadow,” c. 1980s, 29 x 21 x 2 in. | 16: Page from “The Studio Potter,” Vol. 35, No. 1, December 2006. Works by Betty Woodman © Woodman Family Foundation / Artists Rights Society (ARS), New York
Betty Woodman, “Azulejas - Oribe Memory,” 2003, 34 x 68 x 9 in. Glazed earthenware © Woodman Family Foundation / Artists Rights Society (ARS), New York
Betty Woodman's favorite ceramic color, blue, and her body of work
Betty Woodman is known for her exuberant body of work, which is often bathed in vivid hues of yellow, fuchsia, red, and orange. Yet in the December 2006 issue of The Studio Potter devoted solely to color, she confessed—“without a moment’s hesitation”—that blue was her favorite.
L to R: 1, 3, 5, 7, 8: Installation views, Christopher S. Bond Courthouse, Jefferson City, MO. Commissioned by the US General Services Administration. Photo © Aaron Dougherty | 2: “River View: Sunshine,” 2012, approx. 11 x 8.5 ft. Glazed earthenware, epoxy resin, lacquer, acrylic paint, canvas, wood | 4: “River View: Day Dreaming,” 2012, approx. 11 x 8.5 ft. Glazed earthenware, epoxy resin, lacquer, acrylic paint, canvas | 6: “River View: Vases at Dusk,” 2012, approx. 11 x 8.5 ft. Glazed earthenware, epoxy resin, lacquer, acrylic paint, canvas, wood | 9: Thomas Hart Benton painting “A Social History of the State of Missouri,” 1936. Commerce and Industrial Development Collection, Missouri State Archives. | 10: Betty Woodman’s site visit to the Christopher S. Bond Courthouse, Jefferson City, MO, 2012. Artworks by Betty Woodman © Woodman Family Foundation / Artists Rights Society (ARS), New York
Installation view, Christopher S. Bond Courthouse, Jefferson City, MO. Photo © Aaron Dougherty
Betty Woodman's installation at the Christopher S. Bond Courthouse, Jefferson City, Missouri, 2012
In 2012, Betty Woodman was commissioned to create an artwork for the Christopher S. Bond courthouse in Jefferson City, Missouri, through the General Services Administration’s Art in Architecture program.
L to R: 1: Still Life Vase in kiln, Boulder, Colorado, 1991 | 2: Betty and kiln, Boulder, Colorado, March 1970 | 3: Betty and kiln, Boulder, Colorado, May 1965 | 4: “Folded Tri-part Vase,” 1975, 8 x 25 x 8 in. Salt glazed stoneware | 5: Betty and kiln, Boulder, Colorado, c. 1960s | 6: Kiln, Antella, Italy, c. 1990s | 7: Kiln, Antella, Italy, c. 1996 | 8: Kiln, Antella, Italy, c. 1990s | 9: Betty and kiln, Antella, Italy, c. 1990s | 10: Betty and George firing the kiln, Antella, Italy, c. 1973 | 11: “Pillow Pitcher: Italian,” 1977, 15 x 30 x 15 in. Terra sigillata | 12: Betty and kiln, Antella, Italy, c. 1960s | 13: Betty and kiln, Antella, Italy, c. 1969 | 14: “Fabric Samples” in progress in kiln, New York, New York, 2005 | 15: “Fabric Samples,” 2005, 30 x 31 x 8 in. Glazed earthenware. Installation view from “The Art of Betty Woodman,” Metropolitan Museum of Art, New York, New York, 2006 | 16: Ceramic fragments in the kiln, New York, New York, 2013 | 17: Detail from “Wallpaper 9,” 2015, dimensions variable. Glazed earthenware, epoxy resin, lacquer, acrylic paint | 18: “Vase,” 1955, 5 x 5 x 5 in. Lusterware | 19: Kiln, Albuquerque, New Mexico, 1955. All artworks by Betty Woodman © Woodman Family Foundation / Artists Rights Society (ARS), New York. Woodman Family Foundation Archives.
Still Life Vase in kiln, Boulder, Colorado, 1991. Artwork by Betty Woodman © Woodman Family Foundation / Artists Rights Society (ARS), New York. Woodman Family Foundation Archives.
Betty Woodman and her kilns
Throughout her career, Betty Woodman embraced the possibilities that different kilns and firing techniques offered, adapting her approach to the materials available in the diverse places where she lived and worked.
L to R: George Woodman. “285” or “Bari” or “Winterreise”, 1975, 65 x 65 in. Acrylic on canvas | Francesca Woodman. “Untitled”, c. 1975-78, 6 5/8 x 6 9/16 in. Gelatin silver print | Betty Woodman. “Joined Vases”, 1972, 11 1/2 x 23 x 10 in. Porcelain | Francesca Woodman. “Untitled”, c. 1979-80, 11 x 14 in. Gelatin silver print | George Woodman. “Study in White: Marble from Michelangelo’s Quarry”, 2004, 16 x 20 in. Gelatin silver print | Betty Woodman. “Boys”, 2013, 28 x 28 x 7 in. Glazed earthenware | George Woodman. “Untitled”, 1974, 84 x 84 in. Acrylic on canvas | Detail from Betty Woodman. “Aeolian Pyramid”, 2001/2006, approx. 150 x 168 x 100 in. Glazed earthenware, epoxy resin, lacquer, paint | George Woodman. “Tessellation Sky”, 1975, 54 1/2 x 54 1/2 in. Acrylic on canvas | Betty Woodman. “Nina’s Room”, 2012, 86 x 107 x 12 1/2 in. Glazed earthenware, epoxy resin, lacquer, acrylic paint, canvas | Francesca Woodman. “Untitled”, c. 1977-78, 3 13/16 x 3 7/8 in. Gelatin silver print | Betty Woodman. “Judith’s Window”, 2012, 59 1/2 x 43 1/2 x 10 1/2 in. Glazed earthenware, epoxy resin, lacquer, acrylic paint, canvas, wood | Francesca Woodman. “Untitled”, 1980, 8 1/2 x 8 1/2 in. Gelatin silver print | Betty Woodman. “Divided Vases: Window”, 2012, 33 1/4 x 42 x 7 1/2 in. Glazed earthenware, epoxy resin, lacquer, paint | Francesca Woodman. “Untitled”, 1976, 5 1/8 x 5 1/8 in. Gelatin silver print | George Woodman. “Untitled”, c. 1980, dimensions unknown. Acrylic on canvas | Francesca Woodman. “Untitled”, c. 1979-80, 3 7/8 x 5 5/8 in. Gelatin silver print | Francesca Woodman. “Untitled,” c. 1979-80, 5 1/2 x 5 5/8 in. Gelatin silver print | George Woodman. “Christening Dress and Roman Sculpture (A Roman Fragment with a Christening Dress)”, 2011, 42 x 38 1/2 in. Oil on gelatin silver print | Betty Woodman. “White Amphoras”, 2004, 33 x 57 x 12 in. Glazed earthenware. All artworks © Woodman Family Foundation / Artists Rights Society (ARS), New York
George Woodman. “285” or “Bari” or “Winterreise”, 1975, 65 x 65 in. Acrylic on canvas © Woodman Family Foundation / Artists Rights Society (ARS), New York
The Woodmans and the use of white
Betty Woodman and George Woodman are often celebrated for their exuberant use of color, while Francesca Woodman is best known for her dramatic black-and-white photographs, filled with shades of grey. Working across different mediums and methods, the Woodman artists used white—and the absence of color—to fascinating effects.
L to R: 1-3, 5, 6: Installation views, “An Interior Exchanged,” Fashion Institute of Technology, New York, New York, 1982. Woodman Family Foundation Archives | 4: Spread from “Wallpapers for Historic Buildings” by Richard C. Nylander, The Preservation Press, Washington, D.C., 1983 | 7: Betty Woodman, “Cloistered Arbor Room,” 1981, 10 x 23 ft. Glazed earthenware, epoxy resin, lacquer, fabric. Installation view from “The Elizabeth Reed Keller Memorial Exhibition: Ceramics,” Suzanne Lemberg Usdan Gallery, Bennington College, Bennington, Vermont, 1981 | 8: Betty Woodman, “Bedroom with Lattice,” 2009, 92 x 85 x 15 in. Glazed earthenware, paint, canvas | 9: Spread from “Pompei ercolano stabile oplontis: le città sepolte dal Vesuvio” by Pietro Giovanni Guzzo, Electa Napoli, Italy, 2003 | 10: Betty Woodman, “Villa Oplontis,” 2006, 45 x 121 x 11 in. Terra sigillata, canvas, glazed earthenware, epoxy resin, lacquer, wood | 11: Betty Woodman, “Il Giardino Dipinto,” 1993, 9 x 35 ft. Glazed earthenware, epoxy resin, lacquer, paint. Installation view from “Betty Woodman: Il Giardino Dipinto,” Rhode Island School of Design Museum, Providence, Rhode Island, 2005 | 12: Selected books on wall paintings, wallpapers, and architecture from Betty Woodman’s collection | 13: Betty Woodman, “Wallpaper: 11,” 2016, 120 x 144 in. Glazed earthenware, epoxy resin, lacquer, acrylic paint. All Betty Woodman artworks © Woodman Family Foundation / Artists Rights Society (ARS), New York
Installation view, “An Interior Exchanged,” Fashion Institute of Technology, New York, New York, 1982. Woodman Family Foundation Archives
Betty Woodman's collaboration with Cynthia Carlson and her pivot to the wall
In the spring of 1981, Betty Woodman and Cynthia Carlson started planning for “An Interior Exchanged,” an environmental collaboration presented in ARTISANSPACE at the Fashion Institute of Technology in 1982.
Image details: 1. Betty Woodman at work in her studio in Antella, Italy, 1996. Photograph by George Woodman | 2. An assemblage of Betty Woodman’s studio materials. Clockwise from bottom left: Rocket Expansion cement, broken ceramic pieces, measuring cup, sponges, Orton standard pyrometric cones (open box) Orton small pyrometric cones, fork, toothbrush, kitchen knife | 3. George Woodman in his New York City studio c. 1980s | 4. An assemblage of George Woodman’s studio materials. Clockwise from bottom left: Gorton vapor equalizing valve, Bessey vise clamp, Xcemite screw driver, rubber hook tool, Dap silicone, GE silicone, Stanley level, Conair hair dryer, Wiss pliers, Great Neck wood chisel, Maimeri set of paints
Betty Woodman at work in her studio in Antella, Italy, 1996. Photograph by George Woodman. Woodman Family Foundation Archives.
Tools used by Betty Woodman and George Woodman
October is American Archives Month and we are celebrating by looking at some of the tools of the trade used by George Woodman and Betty Woodman in our collection.
L to R: Betty, Charles, and Francesca Woodman in front of the New York World's Fair Unisphere, 1964 / Charles and Francesca Woodman in front of Thailand's pavilion, 1964 / Bird's eye view of the New York World's Fair, 1964. Woodman Family Foundation Archives.
Betty, Charles, and Francesca Woodman in front of the New York World's Fair Unisphere, 1964. Woodman Family Foundation Archives.
The Woodmans at the 1964 New York World's Fair
Sixty years ago, before they had traveled much of the world together, the Woodman family visited the 1964-1965 New York World’s Fair in Flushing Meadows-Corona Park.
Detail: Betty Woodman walking under torii gates, Japan, 1990 / Pair: Details of Betty Woodman and George Woodman in a traditional ryokan inn, Japan, 1990 / Betty Woodman, Japan, 1990 / George Woodman, Japan, 1990 / George Woodman, Shinto shrine, Japan, 1990 / Hōryū-ji Temple, Nara, Japan, 1990 / Buddhist Guardian statue, Hōryū-ji Temple, Nara, Japan, 1990 / Pillars, Hōryū-ji Temple, Nara, Japan, 1990 / Shave ice stall, Japan, 1990. Woodman Family Foundation Archives.
Detail: Betty Woodman walking under torii gates, Japan, 1990. Woodman Family Foundation Archives.
Betty Woodman and George Woodman in Japan, 1990
As the solstice today marks the official beginning of summer, we are reminded of the Woodmans’ extensive travels around the world and their months immersed in global artistic influences.
L to R: Images 1-4: Betty Woodman’s brushes / Detail of "Roman Girls," 2008, 35 x 70 x 11 in. Glazed earthenware, epoxy resin, lacquer, paint / Detail of "History of the Amphora," 2011, 6 ft. x 8 ft. x 1 in. Glazed earthenware, epoxy resin, lacquer, acrylic paint / Detail of “Country House,” 2005, 66 x 32 x 9 1/2 in. Glazed earthenware, epoxy resin, lacquer / Woodman’s glazes / Detail of "Spring Wall Relief," 2009, 60 x 48 x 1 in. Glazed earthenware / Detail of "His and Hers Vases: Ferris Wheel," 2006, 28.5 x 73 x 14.5 in. Glazed earthenware, epoxy resin, lacquer, and paint / All works by Betty Woodman. © Woodman Family Foundation / Artists Rights Society (ARS), New York. Woodman Family Foundation Archives.
Betty Woodman’s brushes. Woodman Family Foundation Archives.
Betty Woodman's glazes, paints, and brushes
Betty Woodman’s numerous glazes, paints, and the varied configurations of brushes—sometimes mixed or assembled by the artist herself to achieve desired color swatches, brushy marks, and parallel stripes—reflect her continuously innovative work with ceramic forms.
L to R: Betty Woodman. “Courtyard: Pontormo,” 2016. 110 x 84 x 10 in. Glazed earthenware, epoxy resin, lacquer, acrylic paint, and canvas / Images 2-3: Spreads from “Betty Woodman: New York/Florence.” Purple Magazine, Fall/Winter, 2017 / Betty Woodman. “Courtyard: Van Gogh,” 2016. 96 x 84 x 10 in. Glazed earthenware, epoxy resin, lacquer, acrylic paint, and canvas.
Betty Woodman. “Courtyard: Pontormo,” 2016. 110 x 84 x 10 in. Glazed earthenware, epoxy resin, lacquer, acrylic paint, and canvas.
Betty Woodman interview with Selva Barni, "Purple Magazine," Fall/Winter 2017
In this interview with Selva Barni, published in "Purple Magazine" in 2017, Betty Woodman talks about taking chances in her work and life, her relationship to feminism, her shift from potter to sculptor, and much more.
L to R: Detail of Betty Woodman / Betty Woodman, Uxmal, Yucatán, Mexico, c. 1980s / Betty Woodman and friend, Yucatán, Mexico, c. 1980s / Pyramid of the Magician, Uxmal, Yucatán, Mexico, c. 1980s / Pyramid of the Magician, Uxmal, Yucatán, Mexico, c. 1980s / George Woodman, Yucatán, Mexico, c. 1980s / Betty Woodman, Hotel Real Toledo by Kavia, Mérida, Yucatán, Mexico, c. 1980s / George Woodman, Hotel Real Toledo by Kavia, Mérida, Yucatán, Mexico, c. 1980s / George Woodman, Hotel Real Toledo by Kavia, Mérida, Yucatán, Mexico, c. 1980s. Woodman Family Foundation Archives.
Detail of Betty Woodman, Uxmal, Yucatán, Mexico, c. 1980s. Woodman Family Foundation Archives.
Yucatán, Mexico, c. 1980s: SUMMER TRAVELS WITH THE WOODMAN FAMILY
The Woodmans’ travels also took them beyond the historical and cultural capitals of Europe. For Betty and George, this included trips to India, China, Japan, Korea, and more than one visit to Mexico—a country where they spent three months on their honeymoon in the summer of 1953.
L to R: Charles Woodman, George Woodman, and Betty Woodman, Ponte Vecchio, Florence, Italy, c. 1966 / George Woodman, Florence, Italy, 1966 / Francesca Woodman and Charles Woodman, Fiesole, Italy, c. 1966 / Charles Woodman and Francesca Woodman, Pompeii, Metropolitan City of Naples, Campania, Italy, 1966 / Charles Woodman and Francesca Woodman, Alhambra, Granada, Spain, c. 1966 / Tile detail Alhambra, Granada, Spain / Detail of George Woodman, ceramic tile installation Delavan-Canisius College Station, NFTA-Metro, Buffalo, NY, 1984 / George Woodman. “A Gentle Tessellation,” 1966/68. 43 1/4 x 43 1/34 in. Acrylic on canvas / George Woodman with tile mural commissioned by General Motors and the Detroit Transportation Corporation. Detail of the work in progress on the floor of George's studio, Antella, Italy, 2003. All images Woodman Family Foundation Archives unless otherwise noted. All artworks © Woodman Family Foundation / Artists Rights Society (ARS), New York.
Charles Woodman, George Woodman, and Betty Woodman, Ponte Vecchio, Florence, Italy, c. 1966. Woodman Family Foundation Archives.
Family trips to Florence, Fiesole, and Pompeii in Italy, and Granada, Spain. c. 1966: SUMMER TRAVELS WITH THE WOODMAN FAMILY
The Woodmans spent another year together just outside of Florence from 1965-66. Betty had a Fulbright-Hays fellowship and George a faculty fellowship from the University of Colorado, while Charlie and Francesca attended the local public school.
L to R: Francesca Woodman, 1971 / Pair: Betty Woodman, 1971 / George Woodman, 1971 / Francesca Woodman and friend, 1971 / Betty Woodman and friend, 1966 / Francesca Woodman and Charles Woodman, 1966 / George Woodman, 1966 / View of Acropolis of Athens from boat, Athens, Greece, 1966 / Betty Woodman, Greece, 1971 / Francesca Woodman, Greece, 1971. All images Acropolis of Athens, Athens, Greece unless otherwise noted. Woodman Family Foundation Archives.
Francesca Woodman, Acropolis of Athens, Athens, Greece, 1971. Woodman Family Foundation Archives.
Acropolis of Athens, Athens, Greece, 1971 and 1966: SUMMER TRAVELS WITH THE WOODMAN FAMILY
The Woodman family made at least two trips to Greece together. The impact and influence of classical ruins, the architecture as well as the female form, can be seen in all of their work over many decades.
L to R: Pair: Francesca Woodman, Jardin du Luxembourg, Paris, France, 1960 / Charles Woodman, Jardin du Luxembourg, Paris, France, 1960 / Detail of Betty Woodman and Francesca Woodman / Betty Woodman and Francesca Woodman, Jardin du Luxembourg, Paris, France, 1960 / Charles Woodman, Fontaine des Quatre-Parties-du-Monde, Jardin du Luxembourg, Paris, France, 1960 / Francesca Woodman and Charles Woodman, Paris, France, 1960 / Musée du Louvre, Paris, France, 1960 / Paris, France, 1960 / Betty Woodman and Charles Woodman, Paris, France, 1960. Woodman Family Foundation Archives.
Pair: Francesca Woodman, Jardin du Luxembourg, Paris, France, 1960 / Charles Woodman, Jardin du Luxembourg, Paris, France, 1960. Woodman Family Foundation Archives.
Paris, France, 1960: SUMMER TRAVELS WITH THE WOODMAN FAMILY
The Woodman family used their Italian home-base to see the sites around Europe, which meant that Francesca and Charlie began traveling with their parents from a young age.
L to R: 1-2: Betty Woodman with Francesca Woodman and Charles Woodman, passport, 1959 / 3-4: George Woodman, passport, 1959 / 5-6: Betty Woodman with Charles Woodman and Francesca Woodman, passport, 1965 / 7-8: George Woodman, passport, 1965 / 9-10: Betty Woodman with Francesca Woodman, passport, 1970. Woodman Family Foundation Archives.
Betty Woodman with Francesca Woodman and Charles Woodman, passport, 1959. Woodman Family Foundation Archives.
The Woodmans' passports, 1959, 1965, and 1970: SUMMER TRAVELS WITH THE WOODMAN FAMILY
As everyone heads out on vacation this August, we’re taking a look back at the Woodman family’s travels throughout the years with images from our archives.
L to R: “The Summer House,” 2015. 338 1/2 x 94 1/2 x 12 in. Glazed earthenware, epoxy resin, lacquer, acrylic paint, canvas, and wood. Photo: Bruno Bruchi / 2-3: Details of “The Summer House,” 2015 / “Vase Upon Vase: Orfeo,” 2013. 66 1/2 x 23 x 16 1/4 in. Glazed earthenware, epoxy resin, lacquer, acrylic paint, and wood. Photo: Brian Forrest / “Cherry Blossom Time,” 2005. 65 x 27 1/2 x 9 3/4 in. Photo: Christopher Burke / Installation view of “Portugal” (2005), The Great Hall, The Metropolitan Museum of Art, 2006. 34 1/4 x 29 1/2 x 18 in. Photo: Peter Harkawik / “Rose et Noir,” 1989. 21 x 26 x 22 in. Photo: Christopher Burke / Images 5-7: All glazed earthenware, epoxy resin, lacquer, and acrylic paint / Cover of “Frieze," No. 177, March, 2016. All artworks by Betty Woodman © Woodman Family Foundation / Artists Rights Society (ARS), New York
Betty Woodman. “The Summer House,” 2015. 338 1/2 x 94 1/2 x 12 in. Glazed earthenware, epoxy resin, lacquer, acrylic paint, canvas, and wood © Woodman Family Foundation / Artists Rights Society (ARS), New York
Betty Woodman interview with Amy Sherlock, "Feel More," "Frieze," No. 177, March 2016
“FEEL MORE: Ahead of her solo exhibition at the Institute of Contemporary Arts, London, Betty Woodman talks to Amy Sherlock about ceramic histories and modern painting.”
L to R: 1-5: Betty Woodman and George Woodman working in Bud and Barbara Shark’s studio, Holualoa, Hawaii, 1996 / 6: Betty Woodman and George Woodman in front of lava wall, City of Refuge, Hawaii, 1996 / 7–8: Betty Woodman and George Woodman, South Point, Hawaii, 1996. All photos by Barbara Shark. Woodman Family Foundation Archives..
Betty Woodman working in Bud and Barbara Shark’s studio, Holualoa, Hawaii, 1996. Photo by Barbara Shark. Woodman Family Foundation Archives.
Betty Woodman and George Woodman at Bud and Barbara Shark's studio, Holualoa, Hawaii, 1996
In January of 1996, Betty and George Woodman escaped a snowy Colorado winter to join their good friends Bud and Barbara Shark in Holualoa on the Big Island of Hawaii.
L to R: Charles Woodman, Venice, Italy, 1966 / Charles Woodman and Francesca Woodman, Venice, Italy, 1966 / Betty Woodman and Charles Woodman, Venice, Italy, 1966. Woodman Family Foundation Archives.
Charles Woodman, Venice, Italy, 1966. Woodman Family Foundation Archives.
The Woodmans in Venice, Italy, 1966
As this year’s Venice Biennale, “The Milk of Dreams,” nears its end, we’re reminded that over many decades Betty and George Woodman traveled to Venice to take in the Biennale. Their trip in 1966—pictured here—when the family spent the year in Italy, was likely Charlie and Francesca’s first of many visits there, to explore both the exhibition and this captivating city.
L to R: Betty Woodman, Italy, c. 1965-66 / Betty Woodman, Charles Woodman, and Francesca Woodman, Italy, c. 1960s / Charles Woodman and friend, Italy, c. 1966 / Betty Woodman and friends, Italy, c. 1966 / Betty Woodman, Francesca Woodman, and friend, Antella, Italy, c. 1968 / Betty Woodman and friends, Antella, Italy, c. 1980 / Betty Woodman, Antella, Italy, c. 1995 / George Woodman, Antella, Italy, c. 1995 / Betty Woodman, George Woodman, and friends, Antella, Italy, c. 1995. Woodman Family Foundation Archives.
Betty Woodman, Italy, c. 1965-66. Woodman Family Foundation Archives.
Dining al fresco with the Woodman family, c. 1960s-1995
The Woodman family spent many summer days and evenings dining al fresco in Italy with family and friends throughout the years. Most of these snapshots were taken by George, who often had his camera in hand and documented their family life.
The Woodman family and friends throughout the years in Antella, Italy, c. 1960s-2010s. Woodman Family Foundation Archives.
The Woodman family and friends, Antella, Italy, c. 1960s. Woodman Family Foundation Archives.
The breakfast nook, Antella, Italy, c. 1960s-2010s
For over fifty years, the Woodman family has enjoyed many meals and conversations in the breakfast nook at their farmhouse in Antella, Italy. Built in a circular space that had originally housed a brick oven, the nook overlooks the hills of Tuscany and spectacular sunsets.
L to R: Betty Woodman and George Woodman, Boulder, Colorado, c. 1980s-90s / Betty Woodman and George Woodman featured in “Daily Camera,” February 14, 1993.
Betty Woodman and George Woodman featured in “Boulder Camera,” February 14, 1993.
Betty Woodman and George Woodman featured in "Daily Camera," February 14, 1993
Happy anniversary to George and Betty Woodman! They were married on this day in 1953. In this 1993 profile in the Daily Camera, “Boulder’s best known international couple least known in their hometown” reflects on their art and their shared commitment to it and each other.
L to R: 1-6: Betty Woodman. “Impruneta Flower Pots,” c. 1998-2004. Variable dimensions. Terracotta. Views in Antella, Italy | Betty Woodman with Tullio Orlandi, Italy, c. 1998-2004. Woodman Family Foundation Archives.
Betty Woodman. “Impruneta Flower Pots,” c. 1998-2004. Variable dimensions. Terracotta. Views in Antella, Italy. Woodman Family Foundation Archives.
Betty Woodman, "Impruneta Flowers Pots," c. 1998-2004, Antella, Italy
Over summers spent in Antella, Italy, Betty Woodman often developed projects which could only be realized there. From 1998-2004, she collaborated with a pottery in Impruneta—a nearby town renowned for its terra cotta clay—enlivening their standard-issue garden planters with her vase-shaped façades and signature brushstrokes.
L to R: 1-2: Installation views of Betty Woodman's “Horizontal Garden” (2005), The Great Hall, The Metropolitan Museum of Art, 2006. 29 x 32 x 18 in. Glazed earthenware | Installation view of “The Art of Betty Woodman,” The Metropolitan Museum of Art, New York, NY, April 25—July 30, 2006. Photo: Eli Ping
Installation view of Betty Woodman's “Horizontal Garden” (2005), The Great Hall, The Metropolitan Museum of Art, 2006. 29 x 32 x 18 in. Glazed earthenware. Photo: Eli Ping.
Betty Woodman, Met Vases, 2006
Spring flowers always remind us of Betty Woodman, and particularly her vases in the Great Hall of the Metropolitan Museum of Art, which greeted visitors to the museum with their bold colors, overlapping patterns and allusions to vases and gardens, holding an ever-changing display of seasonal blooms. They were installed on the occasion of her 2006 retrospective there—the first time the museum dedicated such an exhibition to a living woman artist.
L to R: 1-4: All from Betty Woodman’s first trip to Fiesole, near Florence, Italy, 1951-52 / Soggiorno degli Stranieri in Italia ("Foreigner's Stay in Italy”) for Betty Woodman, 1951. Woodman Family Foundation Archives.
Betty Woodman’s first trip to Fiesole, near Florence, Italy, 1951-52. Woodman Family Foundation Archives.
Betty Woodman's trip to Fiesole, Italy, 1951-52
Betty Woodman first traveled to Italy in 1951, on the suggestion of her friends Grace and John Tagliabue who invited her to join them there. She spent the year in Fiesole, renting a room on a hillside overlooking Florence and its Duomo and working in a pottery studio owned by painter Giorgio Ferrero and sculptor Lionello Fallacara.
L to R: Betty Woodman working in her studio, Boulder, Colorado, c. 1960s / Betty Woodman’s functional ceramics notebook, c. 1966 / Betty Woodman with pots from kiln, Boulder, Colorado, c. 1960s. Woodman Family Foundation Archives.
Betty Woodman working in her studio, Boulder, Colorado, c. 1960s. Woodman Family Foundation Archives.
Betty Woodman's functional ceramics, 1960s
In the 1960s, Betty Woodman worked primarily in stoneware at her studio in Boulder, Colorado. At that time, she focused on producing functional ceramics, keeping careful notes about each piece.
L to R: Betty Woodman with Joyce Kozloff, 1981. Photo: Sylvia Plachy / 2-4: Betty Woodman, collaboration with Joyce Kozloff. “Cups," (3 of 12), 1980. 5 in. diameter / "Chrysanthemum Vase," 1980. 14 in / “Purple Toucan Pitcher,” 1980. 17 in. All glazed earthenware / 5-7: Betty Woodman, collaboration with Cynthia Carlson. Installation views, "An Interior Exchanged,” ArtisanSpace, Fashion Institute of Technology, New York, 1982. Dimensions variable. All paint and glazed ceramic.
Betty Woodman with Joyce Kozloff, 1981. Photo: Sylvia Plachy. Woodman Family Foundation Archives.
Betty Woodman, collaborations with Joyce Kozloff and Cynthia Carlson
In the early 1980s, as Betty Woodman moved into a New York City loft with her husband, George Woodman, and began to shift her functional practice towards ceramic sculpture, she became friends with many artists deeply involved with the Pattern and Decoration movement. She collaborated with two of them: Joyce Kozloff and Cynthia Carlson. With Kozloff, Woodman made ceramic forms—whether cups and saucers, pitchers or trays—which Kozloff then decorated with rich patterns inspired by Islamic tiles and motifs. The resulting works, which dissolve the line between craft and art, were shown in exhibitions at Tibor de Nagy Gallery and the Queens Museum in 1981.
L to R: Entrance to the Woodman family’s farmhouse adorned with a Pillow Pitcher by Betty atop a wall of George’s “sgraffito,” 2017 / View of the olive groves from Betty’s studio, 2004 / Betty cutting well-tended roses growing against the wall next to her studio, 2008 / Betty making flower arrangements with roses, dahlias and gerbera daisies from her garden, 2006 / Betty putting fresh flowers in a group of her “Vase and Stand” works, 1984 / Betty, a young family friend, and Francesca, c. late 1960s / Table set for dinner, 2016, photo by Brigid McCaffrey / Generous bowls and baskets full of figs, plums, peaches, grapes, and tomatoes, 2016 / Betty, Charlie and Francesca cooking together, c. early 1970s / George at his studio door, 2006 / A view out from the same door, 2008 / Francesca and Betty holding their bunnies, c. 1968 / Charlie on his motorino, c. late 1960s / Betty and friend with Betty’s triptych “June in Italy” (2001), c. 2001 / George with his sculpture, c. early 1970s / he Woodman family’s patio with potted geraniums and the olive grove in view, c. 1990s / Morning glories climbing George’s “sgrafitto” wall, c. 1990s. Woodman Family Foundation Archives.
L to R: Entrance to the Woodman family’s farmhouse adorned with a Pillow Pitcher by Betty atop a wall of George’s “sgraffito,” 2017. Woodman Family Foundation Archives.
AUGUST IN ANTELLA
Beginning in the summer of 1968, the Woodman Family spent every summer at their stone farmhouse in Antella, Italy, just outside of Florence. As children, Charlie and Francesca joined their parents and later visited on their own, soaking in Italian culture and influences. Betty and George made some of their most important artistic breakthroughs there—a place George once described as "an artist residency for two.” All summer long, their garden produced abundant food and flowers—the tomatoes were particularly good in August, happily shared with frequent visitors.
All images related to Betty Woodman’s “Bronze Bench #3,” 2003. 57 x 62 x 16 in. Bronze, patina. From L to R: clay models for bronze benches outside Betty’s studio in Antella, Italy / Benches in progress at the Fonderia with Betty’s full-scale drawing / Applying the patina according to Betty’s drawing / The finished bench arrives at Betty’s studio in Antella / Installation view in the courtyard of the Palazzo Pitti, Museo delle Porcellane, Florence, Italy, 2010 / Installation view, “Betty Woodman: In the Garden,” Greenwood Gardens, Short Hills, New Jersey, 2016 / Betty outside of her studio in Antella. Woodman Family Foundation Archives.
Clay models for Betty Woodman's bronze benches outside Betty’s studio in Antella, Italy, c. 2003. Woodman Family Foundation Archives.
Betty Woodman's functional bronze sculptures
On occasion, Betty Woodman translated her abiding interest in the subject of function into materials other than clay, always pushing the possibilities of a particular medium. In 1999, she began an ongoing collaboration with Fonderia Artistica Belfiore in Pietrasanta, Italy, an idea which came from a conversation with her longtime gallerist, Max Protetch and was in part inspired by fellow gallery artist Scott Burton’s sculptural furniture, as well as the formal Italian gardens she had spent decades exploring.
Saul Steinberg show announcement from George Woodman to Betty Woodman, 1952; front and back. Woodman Family Foundation Archives
Saul Steinberg show announcement from George Woodman to Betty Woodman, 1952. Woodman Family Foundation Archives.
Saul Steinberg show announcement from George Woodman to Betty Woodman, 1952
George Woodman and Betty Abrahams wrote each other regularly beginning soon after they met in 1951—while Betty was at home in Newton, MA and later in Fiesole, Italy and George at home in Concord, NH or at school at Harvard in Cambridge, MA—until they married in 1953.
Family photographs of the Woodman’s sightseeing in Italy, circa 1959-60 and 1965-66. Woodman Family Foundation Archives.
George, Charles and Francesca Woodman in Rome, Italy, 1966. Woodman Family Foundation Archives.
The Woodman family explores Italy, circa 1959-60 and 1965-66
The Woodman family’s lifelong love of Italy began in 1951 with Betty’s yearlong apprenticeship in Fiesole. After marrying in 1953, Betty and George took their young children, Charles and Francesca, for extended stays in 1959-60 and again in 1965-66.
L to R: “1+1=2” exhibition catalogue, 1984 | Review of “1+1=2” show in “The New York Times,” February 17, 1984. Woodman Family Foundation Archives.
"1+1=2" exhibition catalogue, 1984. Woodman Family Foundation Archives.
Betty and George Woodman in "1+1=2" exhibition at Bernice Steinbaum Gallery, 1984
In 1984, following a series of exhibitions at PS1 dedicated to “Art Couples,” art historian and critic Donald Kuspit organized "1 + 1 = 2" at Bernice Steinbaum Gallery in Manhattan. The exhibition paired the work of 31 artist couples and acknowledged a long-overdue cultural shift in recognizing women artists as peers to their male counterparts. Betty Woodman and George Woodman—included in the exhibition and married for more than thirty years at that point—often credited their mutual respect for and support of each other as artists as the bedrock of their marriage.
Betty Woodman. Presenting Food, 1985. Installation views at the Fabric Workshop, New York. First image courtesy Fabric Workshop and Museum.
Betty Woodman. "Presenting Food," 1985. Installation view at the Fabric Workshop, New York. Courtesy Fabric Workshop and Museum.
Betty Woodman's "Presenting Food" at The Fabric Workshop and Museum, Philadelphia, Pennsylvania, 1985
“Presenting Food,” 1985, marked Betty Woodman’s second project with the Fabric Workshop and Museum and a farewell to her work as a functional potter. For this dinner-performance event, held at the museum’s New York City gallery space, Woodman responded to chef Daniel Mattroce’s menu with her signature ceramic dinnerware and serving dishes, accompanied by fabrics she designed and printed at FWM’s Philadelphia studios. Woodman later recounted: “These are my last functional pieces, ‘presented’ like the food in an almost operatic finale.”
A note to Betty Woodman from George Woodman, circa 1951-52 / A note from Betty Woodman to George Woodman, c. 1951-52. Woodman Family Foundation Archives.
A note to Betty Woodman from George Woodman, c. 1951-52. Woodman Family Foundation Archives.
Notes of love exchanged between Betty and George Woodman, 1951-52
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.
The Abrahams Family New Year card, circa 1946-1950. From left to right: Betty, Minnie, Henry and Dot Abrahams.
The Abrahams Family New Year card, c. 1946-50. L to R: Betty, Minnie, Henry and Dot Abrahams. Woodman Family Foundation Archives.
Happy New Year from Henry, Minnie, Dot and Betty Abrahams
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 “Pattern and Place,” by Gini Sikes, Metropolis, October 1984; pp. 17-19, 26.
Metropolis Magazine, October 1984. Woodman Family Foundation Archives.
Betty and George Woodman in Metropolis Magazine, October 1984
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.
All images related to "Chinese Pleasure," 2007-2008, 27 x 12 x 1 feet, glazed earthenware, terra sigillatta, canvas. Images L to R: Betty Woodman / Proposal materials / Views of installation.
Betty Woodman with Chinese Pleasure (2007-2008) at the American Embassy in Beijing, 2008. Woodman Family Foundation Archives.
Betty Woodman’s permanent installation Chinese Pleasure at the United States Embassy in Beijing, China, 2007-2008
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.
L to R: The Woodman family at home in Boulder, Colorado, circa 1963 / Sirotkin House, designed by Tician Papachristou, 1959, Boulder, Colorado, courtesy M. Gerwing Architects / Images 3-7: Interior and exterior views of the Woodman family home in the Sirotkin House, circa 1960s / Baskets in Betty’s studio before one of her twice-yearly sales.
The Woodman family at home in Boulder, Colorado, c. 1963. Woodman Family Foundation Archives.
The Woodmans in Boulder, Colorado, 1960s
In 1960, after returning to Boulder, Colorado, from their first year together in Italy, the Woodman family moved into the Sirotkin House. One of more than a dozen modernist homes in Boulder by architect Tician Papachristou, the house was designed for the original owner as a pair with the house next door.
L to R: Betty Woodman working at the Manufacture nationale de Sèvres, France, c. 1987 / Installation views, Betty Woodman: L’allegra vitalità delle porcellane, Palazzo Pitti, Museo delle Porcelane, Florence, Italy, 2010 / Betty Woodman. Puccini, 1989. 6 x 13.2 x 8.274 in. Glazed porcelain / Betty Woodman. Beccafumi, 2002. 8.9 x 7.9 x 8.2 in. Glazed porcelain © Woodman Family Foundation / Artists Rights Society (ARS), New York
Betty Woodman working at the Manufacture nationale de Sèvres, France, c. 1987. Woodman Family Foundation Archives.
Betty Woodman's Sèvres porcelain, 1987
In 1987, Betty Woodman began her work at the Manufacture nationale de Sèvres, as an artist invited by the French Ministry of Culture. Over the course of more than twenty years, she made a series of sculptural vases and cups and saucers in brilliantly decorated porcelain, later shown at the Palazzo Pitti in her adopted home city of Florence.
L to R: Francesca and Charlie in their grembiule (Italian school uniforms), c. 1965-66 / George Woodman’s studio in a 16th century building, Italy, c. 1965-66 / Betty Woodman in her studio, Italy, 1965 / Francesca drawing in an Italian museum, c. 1965-66 / Charlie and Betty at the market, c. 1965-66 / George, Francesca and Betty in Italy, c. 1965-66. Woodman Family Foundation Archives.
Francesca and Charlie in their grembiule (Italian school uniforms), c. 1965-66. Woodman Family Foundation Archives.
The Woodmans in Italy, 1960s
Beginning in 1965, Betty, George, Charlie and Francesca Woodman spent an influential year together as a family in Italy, immersed in museums, art, and culture. Their affinity for Florence took root, leading to the acquisition of a farmhouse in Antella several years later that has served as a family and creative nucleus ever since.
L to R: Brochure for Betty Woodman / MATRIX 119, Wadsworth Atheneum, Hartford, Connecticut, 1992 | Installation view from Betty Woodman / Matrix 119. "Etruscan Vases," 1965-1966, Wadsworth Atheneum, Hartford Connecticut, 1992.
Brochure for Betty Woodman / MATRIX 119, Wadsworth Atheneum, Hartford, Connecticut, 1992. Woodman Family Foundation Archives.
Betty Woodman at the Wadsworth Atheneum in Hartford, Connecticut, 1992
Betty Woodman's exhibition in the Matrix series at Wadsworth Atheneum in 1992 helped to define a context for her work in ceramics within the larger world of contemporary art, highlighting "that Woodman sees herself ‘dealing with painting as much as with sculpture.'"