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1: “Magic Mountain,” c. 1970, 66 x 54 in. Oil on canvas | 2: “Untitled,” 1969, 48 1/4 x 48 1/4 in. Acrylic on canvas | 3: “Cascade,” 1974, 36 x 36 in. Acrylic on canvas | 4: “Untitled,” 1974, 66 x 66 in. Acrylic and oil on canvas | 5: “Cloud,” 1969, 68 3/4 x 58 1/2 in. Oil on canvas | 6: “Untitled,” 1970, 54 1/4 x 54 1/4 in. Acrylic on canvas | 7: “Untitled,” c. 1974-76, 59 x 59 in. Acrylic on canvas | 8: “Color Octagon,” 1975, 83 x 83 in. Acrylic on canvas | 9: “Winterreise,” 1975, 85 x 85 in. Acrylic on canvas. All artworks by George Woodman © Woodman Family Foundation / Artists Rights Society (ARS), New York.
George Woodman. “Magic Mountain,” c. 1970, 66 x 54 in. Oil on canvas © Woodman Family Foundation / Artists Rights Society (ARS), New York
Idiosyncratic use of color. "George Woodman: A Democracy of Parts, Paintings 1966-1978," DC Moore Gallery, New York, 2025
Pattern paintings made up of repeating forms can tend towards uniformity or sameness, but not so for George Woodman. Instead, he integrated color into his pattern systems as an equal to form rather than a subordinate, constructing compositions in which color steers and complicates the viewer’s perception.
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L to R: 1: George Woodman, “Piazza San Francesco di Paola,” 1966, 32 x 32 in. Oil on canvas | 2: George Woodman, “Untitled,” 1964, 49 x 49 in. Oil on canvas | 3: George Woodman, “Untitled,” c. 1965, 57 x 68 in. Acrylic on canvas | 4: George Woodman, “Untitled,” 1967, 65 x 65 in. Oil on canvas | 5: George Woodman, “Rainbow Funnel,” c. 1967-69, 63 x 39 1/2 in. Acrylic on canvas | 6: George Woodman, Notes from a lecture on Sol LeWitt, c. 1976. Woodman Family Foundation Archives. | 7: George Woodman, Notes from a lecture on Pattern and Art, c. 1979. Woodman Family Foundation Archives. | 8: Sol LeWitt, “Wall Drawing 1: Drawing Series II 18 (A & B),” 1968, each 48 x 48 in. Graphite on wall. San Francisco Museum of Modern Art © The LeWitt Estate | 9: Sol LeWitt, “Cubic-Modular Wall Structure, Black,” 1966, 43 1/2 x 43 1/2 x 9 3/8 in. Painted wood. Museum of Modern Art © The LeWitt Estate | 10: Sol LeWitt, “Serial Project, I (ABCD),” 1966, 20 in. x 13 ft. 7 in. x 13 ft. 7 in. Baked enamel on steel units over baked enamel on aluminum. Museum of Modern Art © The LeWitt Estate | 11: Frank Stella, “Harran II,” 1967, 10 x 20 ft. Polymer on fluorescent polymer paint on canvas. Solomon R. Guggenheim Museum © Estate of Frank Stella | 12: Frank Stella, “Gray Scramble,” 1968-69, 69 x 69 in. Oil on canvas. Solomon R. Guggenheim Museum © Estate of Frank Stella | 13: Alfred Jensen, In-text plate (folio 13) from “A Pythagorean Notebook,” 1965, 15 9/16 × 20 11/16 in. Composition from illustrated book with 20 lithographs, published by Tamarind Lithography Workshop. Museum of Modern Art © Estate of Alfred Jensen | 14: Alfred Jensen, “That Is It,” 1966, 42 x 36 in. Oil on canvas. Museum of Modern Art © Estate of Alfred Jensen | 15: Alfred Jensen, “The Acrobatic Rectangle Per, Eleven,” 1967, 68 x 48 1/2 in. Oil on canvas. Whitney Museum of American Art © Estate of Alfred Jensen | 16: Agnes Martin, “Orchards of Lightning,” 1966, 11 3/4 x 9 3/8 in. Ink on paper. Museum of Modern Art © Estate of Agnes Martin | 17: Agnes Martin, “Untitled,” 1963, 8 x 8 in. Brush and ink and pen and ink on paper. Whitney Museum of American Art © Estate of Agnes Martin | 18: Agnes Martin, “Untitled,” 1960, 70 x 70 in. Oil on canvas. Dia Art Foundation © Estate of Agnes Martin. All George Woodman artworks © Woodman Family Foundation. All artworks © Artists Rights Society (ARS), New York
George Woodman, “Piazza San Francesco di Paola,” 1966, 32 x 32 in. Oil on canvas © Woodman Family Foundation / Artists Rights Society (ARS), New York
George Woodman in dialogue with New York minimalist painters. “George Woodman: A Democracy of Parts, Paintings 1966-1978,” DC Moore Gallery, New York, 2025
In her essay for the exhibition’s catalogue—“The Mind as it Measures: George Woodman’s Patterns”—curator Rebecca Skafsgaard Lowery discusses Woodman’s approach to pattern and color in the context of his contemporaries.
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L to R: 1: “Untitled,” c. 1970-71, 66 3/8 x 66 3/8 in. | 2: “Untitled,” c. 1971, 52 x 52 in. | 3: “7 Colors in 4’s,” 1966, 67 x 67 in. | 4: “Untitled,” 1968, 63 x 98 1/4 in. | 5: “Untitled,” 1975, 60 x 60 in. | 6: “Untitled,” 1978, 49 x 49 in. All acrylic on canvas. All artworks by George Woodman © Woodman Family Foundation / Artists Rights Society (ARS), New York
George Woodman. “Untitled,” c. 1970-71, 66 3/8 x 66 3/8 in. Acrylic on canvas © Woodman Family Foundation / Artists Rights Society (ARS), New York
ON VIEW: "George Woodman: A Democracy of Parts, Paintings 1966-1978," DC Moore Gallery, New York, 2025
Focusing on geometric abstractions from a significant period within the artist's six-decade career, this exhibition traces the development of George Woodman's singular approach to pattern.
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L to R: Pair: Julia Margaret Cameron. “Il Penseroso,” 1865, 252 x 202 mm. Albumen print. The Victoria and Albert Museum / Francesca Woodman. “Self-Portrait on That Same Day,” c. 1977, 5 5/16 x 5 1/4 in. Gelatin silver print. / Images 2-7: Installation views, “Francesca Woodman and Julia Margaret Cameron: Portraits to Dream In,” Institut Valencià d'Art Modern, Valencia, Spain, 2024. Images courtesy Institut Valencià d'Art Modern. Photo: Miguel Lorenzo / Pair: Julia Margaret Cameron. “Marie Spartali,” 1870, 362 x 267 mm. Albumen silver print. The J. Paul Getty Museum / Francesca Woodman. “Space²," from the “Space²“ series, 5 11/16 x 5 11/16 in. Gelatin silver print. All Francesca Woodman artworks © Woodman Family Foundation / VEGAP, Madrid.
Pair: Julia Margaret Cameron. “Il Penseroso,” 1865, The Victoria and Albert Museum / Francesca Woodman. “Self-Portrait on That Same Day,” c. 1977 © Woodman Family Foundation / VEGAP, Madrid.
ON VIEW: “Francesca Woodman and Julia Margaret Cameron: Portraits to Dream In” in Spain
"Francesca Woodman and Julia Margaret Cameron: Portraits to Dream In" is currently on view in Spain through October 20.
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Installation views of "Francesca Woodman and Julia Margaret Cameron: Portraits to Dream In," National Portrait Gallery, London, 2024. Images courtesy and copyright National Portrait Gallery.
"Francesca Woodman and Julia Margaret Cameron: Portraits to Dream In," National Portrait Gallery, 2024
It’s your last chance to see “Portraits to Dream In,” beautifully installed to recall the period from cool, blue dusk to warm, rosy dawn and reflect what curator Magdalene Keaney describes as “the dream space” shared by both Woodman's and Cameron’s photographs.
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L to R: Francesca Woodman. “Untitled,” c. 1979-80, 6 3/16 x 9 in. (15.718 x 22.86 cm). Gelatin silver print / Julia Margaret Cameron. “Iolande and Floss,” c. 1864, 250 x 208 mm. Albumen print. Victoria and Albert Museum / Francesca Woodman. “Untitled,” 1979, 7 7/16 x 7 7/16 in. (18.893 x 18.893 cm). Gelatin silver print / Julia Margaret Cameron. “The Salutation,” 1864, 216 x 178 mm. Albumen print. The J. Paul Getty Museum, Los Angeles / Francesca Woodman. “Untitled,” c. 1977-78, 7 1/2 x 7 3/16 in. (19.05 x 18.258 cm). Gelatin silver print / Julia Margaret Cameron. “The Double Star,” 1864, 253 x 200 mm. Albumen print. Victoria and Albert Museum / Francesca Woodman. “Untitled,” c. 1979-80, 3 15/16 x 9 1/2 in. (10.003 x 24.13 cm). Gelatin silver print / Pair: Francesca Woodman. “Untitled,” c. 1979-80 / Julia Margaret Cameron. “The Sisters,” 1873 / Francesca Woodman. “Untitled,” c. 1979-80, 5 x 3 15/16 in. (12.7 x 10 cm). Gelatin silver print / Julia Margaret Cameron. “The Sisters,” 1873, 356 x 293 mm. Albumen print. Wilson Centre for Photography. All Francesca Woodman artworks © Woodman Family Foundation / DACS, London.
Francesca Woodman. “Untitled,” c. 1979-80, 6 3/16 x 9 in. (15.718 x 22.86 cm). Gelatin silver print © Woodman Family Foundation / DACS, London.
Doubling. "Francesca Woodman and Julia Margaret Cameron: Portraits to Dream In," National Portrait Gallery, 2024
Francesca Woodman and Julia Margaret Cameron frequently used doubling in their photographs.
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L to R: Pair: Julia Margaret Cameron. “Julia Jackson,” 1867 / Francesca Woodman. “Untitled,” 1977 / Francesca Woodman. “Untitled,” 1977, 92 x 92 mm. Gelatin silver print. Courtesy Sabina Mirri / Julia Margaret Cameron. “Julia Jackson,” 1867, 344 x 263 mm. Albumen print. National Portrait Gallery, London / Francesca Woodman. “Untitled,” c. 1977-78, 5 3/8 x 5 7/16 in. (13.653 x 13.813 cm). Gelatin silver print / Julia Margaret Cameron. “My Favorite Picture of all My Works (Julia Jackson),” 1867, 292 x 243 mm. Albumen print. Ashmolean Museum, University of Oxford / Francesca Woodman. “Untitled,” c. 1977-78, 9 3/16 x 9 1/16 in. (23.338 x 23.02 cm). Gelatin silver print / Francesca Woodman. “Untitled,” c. 1976-77, 233 x 230 mm. Gelatin silver print. Tate / Julia Margaret Cameron. “[Annie Chinery Cameron],” 1869-70, 345 x 243 mm. Albumen print. Victoria and Albert Museum / Julia Margaret Cameron. “Zuleika,” 1871, 341 x 260 mm. Albumen print. Victoria and Albert Museum / Francesca Woodman. “Lucy With Goose” or “Leda and Swan,” 1978, 5 3/8 x 5 3/8 in. (13.653 x 13.653 cm). Gelatin silver print. All Francesca Woodman artworks © Woodman Family Foundation / DACS, London.
Pair: Julia Margaret Cameron. “Julia Jackson,” 1867 / Francesca Woodman. “Untitled,” 1977. Francesca Woodman artwork © Woodman Family Foundation / DACS, London.
Muses. "Francesca Woodman and Julia Margaret Cameron: Portraits to Dream In," National Portrait Gallery, 2024
Julia Margaret Cameron is well-known for her portraits of others, often poetically staged allegories. While Francesca Woodman’s work is widely assumed to be self-portraiture, she, like Cameron, worked within a circle of friends and contemporaries who often posed for her.
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L to R: Francesca Woodman. “Untitled,” c. 1979-80, 5 7/8 x 5 13/16 in. (14.923 x 14.765 cm). Gelatin silver print / Julia Margaret Cameron. “The Astronomer (John Frederick William Herschel),” 1867, 349 x 265 mm. Albumen print. Rhode Island School of Design Museum (RISD) / Francesca Woodman. “Portrait of Dale Chisman,” 1980, 5 1/4 x 5 1/4 in., 5 1/4 x 5 1/4 in., 6 1/4 x 6 5/16 in. Gelatin silver prints / Detail from “Portrait of Dale Chisman,” 1980, 6 1/4 x 6 5/16 in. / Julia Margaret Cameron. “Henry Taylor / Author of ‘Philip Van Artevelde,’” 1864, 240 x 192 mm. The Metropolitan Museum of Art / Francesca Woodman. “Untitled,” c. 1979-80, 5 15/16 x 5 15/16 in. (15.083 x 15.083 cm). Gelatin silver print / Julia Margaret Cameron. “Iago – study from an Italian,” 1867, 334 x 248 mm. Albumen print. Science Museum Group / Francesca Woodman. Detail from “Portrait of Paolo Missigoi, Owner of the Libreria Malador, Roma,” c. 1977-78, 4 3/16 x 4 1/8 in. Gelatin silver print / Julia Margaret Cameron. “Hardinge Hay Cameron,” 1864, 290 x 230 mm. Albumen print. Victoria and Albert Museum / Francesca Woodman. “Untitled,” c. 1979-80, 5 3/4 x 5 3/4 in. (14.605 x 14.605 cm). Gelatin silver print. All Francesca Woodman artworks © Woodman Family Foundation / DACS, London.
Francesca Woodman. “Untitled,” c. 1979-80, 5 7/8 x 5 13/16 in. (14.923 x 14.765 cm). Gelatin silver print. © Woodman Family Foundation / DACS, London.
Men. "Francesca Woodman and Julia Margaret Cameron: Portraits to Dream In," National Portrait Gallery, 2024
Among the parallels between Francesca Woodman’s and Julia Margaret Cameron’s practices explored in “Portraits to Dream In” are their photographs of men.
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L to R: Francesca Woodman. “Untitled,” 1978, 4 11/16 x 4 11/16 in. (11.908 x 11.908 cm). Gelatin silver print / Julia Margaret Cameron. “Pomona,” September 1872, 363 x 264 mm. Albumen print. The Metropolitan Museum of Art / Francesca Woodman. "Untitled,” c. 1972-72, 6 1/16 x 5 13/16 in. (15.4 x 14.765 cm). Gelatin silver print / Julia Margaret Cameron. “Mary Hillier,” 1874, 372 x 282 mm. Albumen print. Victoria and Albert Museum / Francesca Woodman. “Untitled,” 1979, 3 13/16 x 3 13/16 in. (9.685 x 9.685 cm). Gelatin silver print / Francesca Woodman. “Untitled,” 1980, 3 1/8 x 5 in. (7.938 x 12.7 cm). Gelatin silver print with ink / Julia Margaret Cameron. “Mrs Herbert Fisher” (Mary Louisa Jackson), 1867, 344 x 265 mm. Albumen print. Wilson Centre for Photography / Francesca Woodman. “Untitled,” 1979, 5 7/8 x 5 15/16 in. (14.923 x 15.083 cm). Gelatin silver print / Julia Margaret Cameron. “[Alethea],” 1872, 325 x 238 mm. Albumen print. The J. Paul Getty Museum. All Francesca Woodman artworks © Woodman Family Foundation / DACS, London.
Francesca Woodman. “Untitled,” 1978, 4 11/16 x 4 11/16 in. (11.908 x 11.908 cm). Gelatin silver print © Woodman Family Foundation / DACS, London.
Nature and Femininity. "Francesca Woodman and Julia Margaret Cameron: Portraits to Dream In," National Portrait Gallery, 2024
Although both Francesca Woodman and Julia Margaret Cameron are well-known for the portraits they made indoors—in studios converted from domestic or industrial spaces—each artist significantly explored the female subject in nature.
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L to R: Pair: Julia Margaret Cameron. “Vivien and Merlin,” 1874 / Francesca Woodman. “Charlie the Model #9,” c. 1976-77 / Julia Margaret Cameron. “Vivien and Merlin,” 1874, 322 x 256 mm. Albumen print. National Portrait Gallery, London / Francesca Woodman. “Charlie the Model #9,” c. 1976-77, 5 1/4 x 5 1/8 in. (13.3 x 13 cm). Gelatin silver print / Julia Margaret Cameron. “Lady Elcho/A Dantesque Vision,” 1865, 273 x 225 mm. Albumen print. Victoria and Albert Museum / Francesca Woodman. “Untitled,” c. 1977-78, 3 1/4 x 3 1/4 in. (8.255 x 8.255 cm). Gelatin silver print / Julia Margaret Cameron. “Daphne (Mary Pinnock),” 1866-68, 352 x 272 mm. Albumen print. Ashmolean Museum, University of Oxford / Francesca Woodman. “Untitled,” 1980, 4 3/8 x 3 15/16 in. (11.113 x 10.003 cm). Gelatin silver print / Julia Margaret Cameron. “May Prinsep,” 1868, 324 x 232 mm. Albumen print. The Metropolitan Museum of Art / Francesca Woodman. “Corner With Lily,” 1978, 8 7/16 x 8 3/8 in. (21.433 x 21.273 cm). Gelatin silver print/ Pair: Julia Margaret Cameron. “May Prinsep,” 1868 / Francesca Woodman. “Corner With Lily,” 1978. All Francesca Woodman artworks © Woodman Family Foundation / DACS, London.
Julia Margaret Cameron. “Vivien and Merlin,” 1874, National Portrait Gallery, London / Francesca Woodman. “Charlie the Model #9,” c. 1976-77 © Woodman Family Foundation / DACS, London
Mythology. "Francesca Woodman and Julia Margaret Cameron: Portraits to Dream In," National Portrait Gallery, 2024
In “Portraits to Dream In,” Francesca Woodman’s and Julia Margaret Cameron’s photographs are paired not based on chronology or art historical influence, but rather with an eye to ways that considering the work of these two artists side by side allows for new readings of each of their work and intentions.
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L to R: Pair: Francesca Woodman. “Angels,” c. 1977-78 / Julia Margaret Cameron. “The Angels at the Sepulchre,” 1869-70 | Francesca Woodman. “Angels,” c. 1977-78, 3 13/16 x 3 3/4 in. (9.685 x 9.525 cm). Gelatin silver print | Julia Margaret Cameron. “The Angels at the Sepulchre,” 1869-70, 353 x 256 mm. Albumen print. Victoria and Albert Museum | Julia Margaret Cameron. “Cupid & Psyche,” 1864-65, 270 x 230 mm. Albumen print. Victoria and Albert Museum | Francesca Woodman. “Untitled,” c. 1977-78, 3 15/16 x 3 15/16 in. (10.003 x 10.003 cm). Gelatin silver print | Julia Margaret Cameron. “The Angel at the Tomb,” 1869, 344 x 252 mm. Albumen print. The J. Paul Getty Museum, Los Angeles | Francesca Woodman. “Untitled,” from the “Angels” series, 1977. 3 1/4 x 3 1/4 in. (8.255 x 8.255 cm). Gelatin silver print | Julia Margaret Cameron. “I Wait (Rachel Gurney),” 1872, 327 x 254 mm. Albumen print. The J. Paul Getty Museum, Los Angeles | A visitor to “Francesca Woodman and Julia Margaret Cameron: PortraIts to Dream In” looks at photographs by Francesca Woodman and Julia Margaret Cameron depicting angels and cherubs at the National Portrait Gallery. Photo © David Parry | Francesca Woodman. “Untitled,” c. 1977-78, 5 1/16 x 4 13/16 in. (12.86 x 12.225 cm). Gelatin silver print. All Francesca Woodman artworks © Woodman Family Foundation / DACS, London.
Pair: Francesca Woodman. “Angels,” c. 1977-78 © Woodman Family Foundation / DACS, London / Julia Margaret Cameron. “The Angels at the Sepulchre,” 1869-70
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Angels. “Francesca Woodman and Julia Margaret Cameron: Portraits to Dream In,” National Portrait Gallery, 2024
“In diverse cultural histories over millennia, angels have had the capacity to move between spiritual and earthly realms, the conscious and unconscious, and are often met in a dream or vision,” exhibition curator Magdalene Keaney writes in the catalogue for “Francesca Woodman and Julia Margaret Cameron: Portraits to Dream In.”
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L to R: “Untitled,” c. 1977-78, 7 9/16 x 7 3/16 in. Gelatin silver print. / “Untitled,” c. 1977-78, 4 1/8 x 4 1/8 in. Gelatin silver print. / “Untitled,” from the “Caryatid” series, 1980, 76 7/8 x 36 3/8 in. Diazotype. / “Untitled,” c. 1977-78, 4 1/2 x 4 7/16 in. Gelatin silver print. / “Self-Deceit #5,” from the “Self-Deceit” series, 1978, 3 3/8 x 3 3/8 in. Gelatin silver print. / “My House,” 1976, 5 3/4 x 5 3/4 in. Gelatin silver print. All artworks by Francesca Woodman. © Woodman Family Foundation / Artists Rights Society (ARS), New York.
Francesca Woodman. “Untitled,” c. 1977-78, 7 9/16 x 7 3/16 in. Gelatin silver print. © Woodman Family Foundation / Artists Rights Society (ARS), New York.
ON VIEW: "Francesca Woodman," Gagosian, New York, New York, 2024
As Gagosian’s inaugural exhibition of Francesca Woodman comes to a close on April 27th, this week is the last chance to see the exhibition.
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