Woodmere. This particular print, once
association. That may be part of what
you see it in the flesh, grabs you and
makes it an image that you don’t forget.
doesn’t let go.
PP: It’s beautifully composed as well, with
WV: I’m very happy that we’re starting
that huge white image on one side and
to have a critical mass of her work so we
the dark image on the other. It wouldn’t
can represent her story as an artist.
have been the same if she centralized the large image of the petal.
AM: Her ideas are quite deep.
WV: We’re planning to hang the
WV: What was she like as a person?
Enid Mark print near your beautiful
DM: Oh, modest, friendly, very amiable.
photograph by Ray Metzker, this wooded
Modest meaning that she was not
scene, and Eileen Goodman’s gigantic
flamboyant by any stretch of the
watercolor of yellow peonies.
imagination.
AM: Talk about handling a watercolor!
AM: I remember that she often worked
Eileen’s enormous flowers are just
small. She began to get into some books.
fabulous—some of the great works of art
She was a graduate of Smith College,
of Philadelphia.
and they have a number of things of
WV: I don’t know how, but Eileen gets
hers at their museum. She was a very
a unique dramatic intensity out of her
deep thinker—the way she talked about
watercolors. We can see it here in the
art—and she really analyzed particular
deep pools of blues and greens.
subjects in her work.
AM: Watercolor, to my way of thinking,
DM: I never noticed it before, but looking
is such a difficult medium. Eileen has an
at that picture it could very well be not a
enormous capacity for being absolutely
flower but a figure.
elegant with it. We saw an early one of hers at Locks Gallery—the first of
AM: A woman’s back?
her works that I ever saw—and I said WV: The sensuality of natural forms
to Marian, I’m going to take that. It was
stretches into many domains of 95