Publications

The Foundation

Betty

Francesca

George

Plotlines

From The Archives

Exhibition Spotlight

Publication Spotlight

News

Grants

Contact

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: Francesca Woodman, “Untitled,” 1980, Gelatin silver print, 4 1/2 x 4 1/2 in. | 2: Gian Lorenzo Bernini, “Apollo and Daphne,” 1622–1625, Galleria Borghese, Rome | 3: Francesca Woodman, “Untitled,” 1980, Gelatin silver print, 3 15/16 x 4 in. | 4: Francesca Woodman, “Untitled,” 1980, Gelatin silver print, 10 5/8 x 13 1/2 in. | - 5: Alexander Pope’s sketch of the shield of Achilles. MS 4808 © The British Library | 6: Cy Twombly, “Fifty Days at Iliam: Shield of Achilles,” 1978 © Cy Twombly Foundation | 7: Cover of Parentheses of Reception. All Francesca Woodman artworks © Woodman Family Foundation / BILDKUNST, Bonn

Francesca Woodman, “Untitled,” 1980, Gelatin silver print, 4 1/2 x 4 1/2 in. (11.43 x 11.43 cm) © Woodman Family Foundation / BILDKUNST, Bonn

Brooke Holmes on Francesca Woodman in "Parentheses of Reception," 2025: READING ROOM

Published in May 2025, the anthology "Parentheses of Reception" explores how the parenthesis, a rhetorical figure of speech and thought, can offer fresh insights into classical reception studies by conceptualizing Greco-Roman antiquity as being both “inserted into” and “remaining apart” from the present.

All works by Francesca Woodman © Woodman Family Foundation / DACS, London. L to R: "Untitled," c. 1977-78, 3 7/8 x 3 7/8 in. Gelatin silver print. / "Angels, Calendar Notebook," c. 1977-78, 8 3/4 x 7 in. Found notebook with gelatin silver prints. / "Untitled," c. 1977-78, 3 7/8 x 3 7/8 in. Gelatin silver print. / "Untitled," c. 1977-78, 4 9/16 x 4 11/16 in. Gelatin silver print. / "Some Disordered Interior Geometries," c. 1980-81, 9 x 6.5 in. Found notebook with gelatin silver prints. / Woodman, Francesca. "Francesca Woodman: The Artist's Books." MACK, 2023 © MACK

“Francesca Woodman: The Artist’s Books” in London

Francesca Woodman’s eight unique artist books demonstrate the artist’s nuanced and sophisticated approach to narrative and sequencing. Don’t miss two opportunities in London to learn more about these remarkable works.

Tags:

Publications