i-xxii Front matter.qxd - Brandeis Institutional Repository

180 / Notes21. Hills, Alice Neel, 143.22. Ibid., 77.23. Annette Cox, Art-as-Politics: The Abstract Expressionist Avant-Garde and Society(Ann Arbor: UMI Research Press, 1977; 1982), 19–20.24. Blacks appear in numerous genre scenes throughout nineteenth-century Americanart, usually in stereotyped roles. Henri was one of the ƒrst artists to paint portraits ofblacks, as individuals, with (ƒrst) names.25. Homer, Robert Henri and His Circle, 158.26. Henri, The Art Spirit, 215.27. Ibid., 95.28. Sheldon Nodelman, “How to Read a Roman Portrait,” Art in America 63/1 (January-February 1975), 28.29. Richard Brilliant, Portraiture (Cambridge, Mass.: Harvard University Press, 1991),110.30. Ibid., 68.31. George Lakoff and Mark Johnson, Metaphors We Live By (Chicago: University ofChicago Press, 1980), 3.32. The authors cite a third category, structural metaphors, in which one concept isstructured in terms of another. These metaphors are inapplicable to the physicalmedium of painting.33. Ibid., 59.34. Hills, Alice Neel, 182–83.35. In her important discussion of Neel’s portrait conventions, “Alice Neel’s Fifty Yearsof Portrait Painting,” Studio International 193 (March 1977), Ellen H. Johnsonprovided a wonderful list of Neel’s animal metaphors: “She has herself remarkedthat the portrait of Virgil Thompson [sic], for example, suggests an elephant in itscolour and leatherish texture . . . The elegantly long, thin Kristen Walker looks likea Russian Wolf Hound . . . One sitter was disturbed when the artist inadvertentlyasked her to move her left ‘paw.’ About a well-known ƒgure, Alice Neel remarkedgleefully, ‘She looks like a ferret, doesn’t she?’ and of another, ‘His hands are like aracoon’s . . .’ She sees a man’s arms as a carp, a leg as a zucchini and a woman’s buttocksas the foot on a Queen Anne Chair” (179).36. Hills, Alice Neel, 167.37. Ibid., 141.38. Nancy M. Henley, Body Politics: Power, Sex and Non-Verbal Communication (EnglewoodCliffs, N.J.: Prentice Hall, 1977), 18.39. Ibid., 38.40. Gerald I. Nerenberg and Henry H. Calero, How to Read a Person Like a Book(1971), quoted in Henley, Body Politics, 126.41. Quoted in Fritz Graf, “The Gestures of Roman Actors and Orators,” in Jan Bremmerand Herman Roodenburg, eds., A Cultural History of Gesture (Ithaca: CornellUniversity Press, 1992), 41.42. Lynn F. Miller and Sally S. Swenson, Lives and Works: Talks with Women Artists(Metuchen, N.J.: Scarecrow Press, 1981), 125.