“Untitled (after Élisabeth Vigée Le Brun)” (2020), oil on canvas, 130 x 100 centimeters. All images © the artist, courtesy of Almine Rech, shared with permission
From elaborate hairstyles to , an array of unexpected face coverings feature in ’s portraits. Drawing on genteel likenesses of women primarily from the 18th and 19th centuries, the artist superimposes fabric, bouquets of fruit, foliage, and more, over the women’s faces.
In a collateral event during the 60th Annual Venice Biennale, presented by the and , Juszkiewicz presents a suite of works made between 2019 and 2024 that encapsulate her precise reconception of a popular Western genre. Locks with Leaves and Swelling Buds showcases her elaborate, technically accomplished pieces using traditional oil painting and varnishing techniques.
Juszkiewicz’s anonymous subjects are reminders of the systemic omission of women from the histories of art and the past more broadly. Literally in the face of portraits meant to memorialize and celebrate individuals, the artist erases their identities entirely, alluding only to the original artists’ names in the titles. In a seemingly contradictory approach, by drawing our attention to this erasure, Juszkiewicz stokes our curiosity about who they were.
“By covering the face of historical portraits, Juszkiewicz challenges the very essence of this genre: she destroys the portrait as such,” says curator Guillermo Solana. In a recent , we get a peek inside the artist’s studio, where she describes how elements of another European painting tradition, the still life, proffers a rich well of symbolic objects to conceal each sitter’s face, from botanicals to ribbons to food.
Locks with Leaves and Swilling Buds continues in Venice at through September 1. Find more on the artist’s and .
“Untitled (after François Gérard)” (2023), oil on canvas, 100 x 80 centimeters
“Untitled (after Joseph van Lerius)” (2020), oil on canvas, 70 x 55 centimeters
Left: “Portrait in Venetian Red (after Élisabeth-Louise Vigée Le Brun)” (2024), oil on canvas, 190 x 140 centimeters. Right: “Lady with a Pearl (after François Gérard)” (2024), oil on canvas, 80 x 65 centimeters
“Bird of paradise” (2023) oil on canvas, 200 x 160 centimeters. Photo by Serge Hasenböhler Fotografie
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