434:, a feminist collaboration by thirteen artists which celebrated female role models. Gorelick appropriated a number of elements from Kahlo's own paintings, as well as photographs that were taken of the Mexican painter. By this time, Gorelick's work was recognized for her use of "all sources of information," including photos, models, and xeroxes, "to get as close to the core of her subjects as possible."
298:, but became uncomfortable with the modernist distortion of the human figure and began a return to realism. In 1959, her focus turned to expressively rendered female nudes, often seated or reclining, which were painted with loose, fluid brushstrokes that allowed her to liken the body to a landscape. Responding to her first solo exhibition, at the Angeleski Gallery on
412:(1974–77), depicts a trio of sibling models who range from seventeen to twenty-one years of age, robed and nude, in a leaf-patterned garden. They are far more individualized than the figures in her works of the early 1960s. Described by one reviewer as a group of "flabby teenagers who are ... the products of leisurely, suburban living," Gorelick's
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in 1977, Gorelick's work had taken on "a new lyrical undercurrent. This comes through most fully in a large painting of 'Three
Sisters', each one of whom appears twice, once nude, once loosely robed. Thus three become a crowd, but the echoes of paired likeness and familial resemblance imply a pattern
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as "dynamic visual experiences, made dynamic through well-crafted and provocative compositions. Miss
Gorelick especially likes to group two people together, something she does with flair, demonstrating a strong psychological nexus between the two sitters." Her slightly later series on the theme of
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in 1961, Stuart
Preston commented on the "impressive warmth" of Gorelick's nudes while noting that "form is abstracted and played around with such lavish complexity as almost to defeat its own ends as figure depiction." By 1965, she was reimagining canonical works of art, including
470:(1980) shows the sitter in her office with a backdrop of books, "catching us with a gaze both shrewd and confident," as one reviewer noted. In the portraits of the Bensons and Barnetts, the figures are over life-size, close to the viewer, and cropped.
405:. Though not one of the founding artist-members of SOHO 20, her tenure with the gallery began in 1974, at the start of the second season. Between 1975 and 1986, Gorelick had six solo exhibitions at SOHO 20 and participated in numerous group shows.
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family in a series of paintings and etchings that were completed between 1970 and 1974. Dickerson and her family are portrayed informally and illuminated with by strong light source. When the works were exhibited at
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figures were meant to reveal psychological states, with varying degrees of pain, questioning, anger, and confusion communicated by nuances of position, gesture, or facial expression. As described by
479:, which she was inspired to paint after a trip to the area. The paintings feature fragmentary glimpses of the vast landscape and "juxtapose cool hard granite, lush greenery and calm sky."
222:, where she earned her B.A. in 1944, she met Leonard Gorelick (1922–2011), a fellow student. They married in 1944 and shared an enthusiasm for art and culture. Leonard Gorelick was an
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Zahavi, Gerald (October 2003). "The 'Trial' of Lee Benson: Communism, White
Chauvinism, and the Foundations of the 'New Political History' in the United States".
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374:(1973) as a backdrop, was also praised by art critics. As inspiration, Gorelick continued to draw upon earlier artists, including
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gained momentum, Gorelick was a founding member of
Central Hall Artists Gallery (est. 1973), an all-women, artist-run gallery in
230:. He combined his interests by investigating the authenticity of cylinder seals through the use of dental technology, especially
206:, arranged for guest lectures by commercial and fine artists. Shirley Fishman had the opportunity to study with three of them:
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of kinship. The girls, all posed toward the spectator, stand in a garden, ankle deep in leaves, against an overgrown wall."
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middle-aged couples, begun in 1980, features Dr. Joseph
Barnett (1926-1988) and Dr. Tess Forrest (1922-2009), both
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enthusiastically remarked, "There is a classical humanism going on here. For her subjects live. They puncture the '
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In 1977, Gorelick turned to representations of middle-aged couples, either together or individually, as in
366:' with their eyes and their lives. She has invented the palette for black skin, sorely needed." Gorelick's
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453:(published in 1961), and his wife Eugenia, known as Gunny. Gorelick's portraits of the Bensons, including
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By the mid-1960s, Shirley
Gorelick had worked in various media, including painting in oils and acrylics,
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449:(1981). The earlier series depicts Lee Benson (1922-2012), an academic and historian who wrote
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Perla, Joy (February–March 1981). "Shirley
Gorelick: Perceptive Master of Portrait Painting".
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The Art of the Sister Chapel: Exemplary Women, Visionary
Creators, and Feminist Collaboration
282:, stone, and wood. She initially explored a variety of artistic styles and was influenced by
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Gorelick's final series, begun in 1982, is a group of landscape paintings representing the
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women in place of the traditional, idealized
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370:(1973), a portrayal of three African-American men standing in the artist's studio with
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Harrison, Helen A. (11 February 1979). "People as Paint in Shirley Gorelick's Works".
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model named Libby Dickerson (1921-1995), who appears alone, doubled, and with her
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North American Women Artists of the Twentieth Century: A Biographical Dictionary
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Between 1967 and 1969, Gorelick created a series on the theme of the
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Nemec, Vernita (15 April 1982). "A Constantly Changing Reality".
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Shirey, David L. (13 January 1980). "Portraits That Tell a Lot".
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American Women Artists, from Early Indian Times to the Present
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Cavaliere, Barbara (Spring–Summer 1977). "Shirley Gorelick".
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by recasting the figures as more lifelike studio models. Her
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Lipson, Karin (4 November 1982). "How 'Women View Women'".
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Preston, Stuart (1 April 1961). "Art: Eminient Italians".
864:. Farnham, England: Ashgate Publishing. pp. 113–117.
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Shirley Gorelick (1924-2000): Painter of Humanist Realism
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in 1947. That year, she studied for several weeks with
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Colin, Barbara Flug (April 1982). "Shirley Gorelick".
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Perreault, John (1 May 1975). "Outrageous Black Pop".
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North Shore: The Magazine for Living on the Gold Coast
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780:"University Archives: Leonard Gorelick Collection"
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424:In 1976, Gorelick painted a nine-foot portrait of
993:Lubell, Ellen (March 1977). "Shirley Gorelick".
693:. Newcastle upon Tyne: Cambridge Scholars Press.
878:Lubell, Ellen (June 1975). "Shirley Gorelick".
811:Heller, Jules; Heller, Nancy G., eds. (1995).
341:but represented ordinary, mature, and finally
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1181:"Shirley Gorelick Landscapes at SOHO 20".
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468:Tess in a Blue Dress (Dr. Tess Forrest)
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1037:"In Memoriam: Lee Benson (1922-2012)"
1008:Alloway, Lawrence (5 February 1977).
236:Teachers College, Columbia University
234:. Shirley Gorelick earned an M.A. at
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506:National Museum of Women in the Arts
1245:20th-century American women artists
952:Elizalde, Molly (5 February 2015).
597:"Obituary: Artist Shirley Gorelick"
451:The Concept of Jacksonian Democracy
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1035:Zuckerman, Michael (April 2012).
250:and, in the early 1960s, learned
1119:"Obituary: Tess Forrest Barnett"
911:Braff, Phyllis (24 March 1996).
819:. New York: Garland Publishing.
1205:CLARA Database of Women Artists
1041:American Historical Association
704:Heller, Steven (21 July 2007).
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1240:20th-century American painters
659:. Boston: G.K. Hall. pp.
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537:(1974), Hillwood Art Museum,
1183:Antiques and the Arts Weekly
566:Rowan University Art Gallery
556:Rowan University Art Gallery
16:American painter (1924–2000)
751:"Leonard Gorelick Obituary"
483:Works in public collections
368:Willy, Billy Joe, and Leroy
200:Abraham Lincoln High School
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860:Hottle, Andrew D. (2014).
689:Hottle, Andrew D. (2014).
512:Self-Portrait in a Fur Hat
457:(1979), were described in
1235:American feminist artists
1230:American realist painters
395:Port Washington, New York
309:Les Demoiselles d'Avignon
226:and later a collector of
516:Housatonic Museum of Art
493:Housatonic Museum of Art
408:Gorelick's next series,
358:in 1975, the art critic
333:Realist work (1965–1995)
182:Early life and education
1260:Brooklyn College alumni
1075:10.1111/1468-2303.00247
466:. Gorelick's imperious
176:photographic exactitude
539:Long Island University
296:Abstract Expressionism
266:Early work (1945–1965)
391:feminist art movement
898:The SoHo Weekly News
572:Harold N. Proshansky
447:Dr. Joseph Barnett I
272:intaglio printmaking
147:, Steven M. Gorelick
601:The Washington Post
323:Homage to Picasso I
278:, and sculpting in
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1090:The New York Times
1063:History and Theory
917:The New York Times
842:The New York Times
755:The New York Times
627:The New York Times
459:The New York Times
397:. She also joined
232:electronmicroscopy
1125:. 18 January 2009
958:The Brooklyn Rail
603:. 20 October 2000
535:Three Sisters III
431:The Sister Chapel
318:Concert ChampĂŞtre
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202:. Her teacher,
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188:Shirley Fishman
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312:(1907) and
276:silverpoint
256:Long Island
252:printmaking
212:Moses Soyer
208:Chaim Gross
204:Leon Friend
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1014:The Nation
583:References
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280:terracotta
258:studio of
112:printmaker
39:1924-01-24
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564:(1976),
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441:(1977),
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389:As the
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1010:"Art"
347:Black
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