5 Fast Facts: Alice Neel

Impress your friends with five fast facts about Alice Neel (1900–1984), whose work is on view in NMWA’s collection galleries.

1. “Collector of Souls”

Neel preferred to paint the intricacies of the human condition. She called herself a “collector of souls,” as her portraits emote psychological intensity and individuality. “Every person is a new universe unique with its own laws emphasizing some belief or phase of life immersed in time and rapidly passing by,” Neel once said.

2. The Personal is Political

Neel often conveyed the struggles of poverty in her portraits. T.B. Harlem, in NMWA’s collection, depicts Carlos Negrón, the brother of the artist’s then-lover, suffering from tuberculosis. The disease spread easily across the overcrowded neighborhood of Spanish Harlem in New York City where Neel and Negrón lived. Neel’s 1940 portrait functions as a form of social activism with her empathetic portrayal.

Alice Neel, T.B. Harlem, 1940; Oil on canvas, 30 x 30 in.; National Museum of Women in the Arts, Gift of Wallace and Wilhelmina Holladay; © The Estate of Alice Neel/Courtesy of David Zwirner, New York

Alice Neel, T.B. Harlem, 1940; Oil on canvas, 30 x 30 in.; National Museum of Women in the Arts, Gift of Wallace and Wilhelmina Holladay; © The Estate of Alice Neel/Courtesy of David Zwirner, New York

3. Star Struck

Many high-profile people in the New York art world found themselves in Neel’s studio. She painted portraits of Andy Warhol, Frank O’Hara, Robert Smithson, and Linda Nochlin. The vulnerable and humanizing portraits belie the larger-than-life personas of these cultural icons.

4. Favorite Quotes

Neel cultivated her own artistic style. However, she conveys her art historical acumen by visually quoting motifs and themes of earlier artists. To name a few, Negrón’s wound in T.B. Harlem evokes traditional images of the martyred Christ; Mary Cassatt’s family portraits influenced Neel’s representations of mothers with children; and Neel’s 1977 portrait of Mary Garrard resembles Young Sailor by Henri Matisse (1907).

5. Save the Best for Last

In 1980, Neel completed her first self-portrait at the age of 80. Self-Portrait combines three subjects that Neel had previously probed: the nude, the elderly woman, and the artist. She humorously examines taboos of elderly women in the art world by depicting herself as both the female nude and the wise painter.

—Hannah Southern is the fall 2019 publications and communications intern at the National Museum of Women in the Arts.

Director’s Desk: Family Matters

Marisol's The Large Family Group (1957) is framed by Patricia Piccinini's The Stags (2008) in NMWA's Family Matters gallery; Photo by Lee Stalsworth

Marisol’s The Large Family Group (1957) is framed by Patricia Piccinini’s The Stags (2008) in NMWA’s Family Matters gallery; Photo by Lee Stalsworth

At the National Museum of Women in the Arts, we regularly rotate our collection to spark new thematic connections. This is an essential part of our curatorial philosophy. In a six-post series, I will explore the themes featured in our current collection installation. Read about our “Rebels with a Cause” theme and stay tuned for more.

When selecting subjects, artists and their patrons often turn to those closest to them: spouses, partners, children, parents, siblings, friends, and pets. Artists from all periods have created tender, naturalistic renderings of loved ones meant to record important moments or emotions. Their imagery sometimes even focuses on other species to represent all living beings that seek companionship and protection.

Historically, images of families created by women artists have tended to be sober and refined, in keeping with the traditional idea that family portraiture is a space for presenting tranquil relationships. Today’s artists examine a broader range of familial experiences, expressively depicting the moments of humor, insecurity, rivalry, and joy that shape family connections.

Gallery Highlights:

Zanele Muholi (b. 1972) is a South African artist and visual activist known for their self-portraits and documentation of LGBTQI lives in South Africa. Their portrait of two women, Katlego Mashiloane and Nosipho Lavuta, Ext. 2, Lakeside, Johannesburg (2007), expresses a sense of enchantment and happiness, defying the discrimination and violence often directed towards homosexuality in South Africa. By capturing their subjects in moments of intimacy and affection, Muholi emphasizes their humanity.

Alice Neel (1900–1984) depicts her boyfriend’s brother, Carlos Negrón, in T.B. Harlem (1940). Negrón had just moved to Spanish Harlem in New York from his native Puerto Rico. A bandage on his chest covers a wound from a treatment for tuberculosis, which spreads easily in densely populated neighborhoods. The archaic operation removed ribs to ease the effects of the disease. Radiating emotional intensity, Neel’s touching portrait of Negrón alludes to poverty as a social issue without sacrificing her subject’s dignity.

In the center of the room, the large-scale sculpture The Stags (2008), by Patricia Piccinini (b. 1965), presents two motor scooters transformed into futuristic creatures. They spar like male deer in the wild, evidently beyond human control. The Stags uses vehicle parts to evoke animal forms and the intimate relationships among these creatures.

zanele muholi, katlego

Zanele Muholi, Katlego Mashiloane and Nosipho Lavuta, Ext. 2, Lakeside, Johannesburg, 2007; Chromogenic print, 30 x 30 in.; Museum purchase: The Paul and Emily Singer Family Foundation with additional support from Nancy Nelson Stevenson; © Zanele Muholi; Courtesy of the artist, Yancey Richardson, New York, and Stevenson Cape Town / Johannesburg

alice neel T.B. Harlem

Alice Neel, T.B. Harlem, 1940; Oil on canvas, 30 x 30 in.; National Museum of Women in the Arts, Gift of Wallace and Wilhelmina Holladay; © The Estate of Alice Neel/Courtesy of David Zwirner, New York

Patricia Piccinini the stags

Patricia Piccinini, The Stags, 2008; Fiberglass, automotive paint, leather, steel, plastic, and rubber, 69 3/4 x 72 x 40 1/4 in.; National Museum of Women in the Arts, Gift of Heather and Tony Podesta Collection; © Patricia Piccinini; Photo by Graham Baring

earl of gower Angelica Kauffman

Angelica Kauffman, The Family of the Earl Gower, 1772; Oil on canvas, 59 1/4 x 82 in.; National Museum of Women in the Arts, Gift of Wallace and Wilhelmina Holladay; Photo by Lee Stalsworth

Angelica Kauffman (1741–1807), one of the most successful portraitists in the eighteenth century, became a sensation in London, captivating society and shaping European visual culture. The Family of the Earl Gower (1772) depicts the British politician Granville Leveson-Gower, his third wife, Lady Susannah, and their children dressed in lyrical costumes and interacting with marble busts, lyres, and period props. Her Neoclassical style communicated the family’s prominence.

Marisol (1930–2016) was one of the most respected and popular artists of the 1960s. Her carved wood sculptures blend Latin American folk art styling with the wit of Dada and Pop Art. The Large Family Group (1957) is one of the artist’s earliest works. It depicts a family with members who extend their arms outward in a welcoming gesture—a gesture that I hope also invites visitors to think about their own associations with the word “family.”

—Susan Fisher Sterling is the Alice West Director of the National Museum of Women in the Arts.