Lillian’s love of painting figures is evident from the beginning of her career...
Read moreZulma (2) oil on board, 2008
Stirpey Robe with night-scented stock
The General Law (Salome series)
The Wild Girl (Salome series)
Triple Nude Reflected, NY studio
Chris Disrobing, pointillist
Indolence (Semi-supine), abstract
Nude on floor and still life, revisited 1
Indolence (Semi-supine), yellow
Indolence (Semi-supine), green
Indolence (Semi-supine) with overlay
Three Faces of Eve, vivid
Three Way Reflection, 1985
Figures in Greek Landscape
In the Shade of the Silver Birch (1972)
Model and Large Floral Painting (scan)
Psyche Alighting at Neos Marmaras
Red Devil (Salome series)
Robed figure with flowers
O Shameful Deed (Salome series)
Pensive nude & Patterned pillow
Pink Studio Nude (NY, 1963)
Nude on floor and still life, NY studio
Nude Reaching Over, NY studio
Nude with Upraised Arms & Stove, NY studio
O Infamous Deed (Salome series)
Nude and Observer, NY studio
Nude, observer and reflection
Midsummer (pale), Avenue B revisited
Mirror Image 1, NY studio
Mirror Image 2, NY Studio
Model and Large Floral Painting (edited)
Model on Chaise Longue, NY studio
Les Fleurs du Mal (Salome series)
Luxurious Nude, NY studio
Mel in African Shawl, framed
L'Après Midi, red version
Les Fleurs du Mal 2 (Salome series)
La Danse with nasturtiums
La Penseuse (2), NY studio
Homage à (Orange version)
Indolence (semi-supine), NY studio
Homage a Matisse – simple
Homage a (polka dots), Avenue B revisited
Homage à, revisited, cream
Homage à – definitive, NY studio
Homage à Matisse - shadow, NY studio
Homage à, definitive, cropped, NY studio
High Voltage Nude (1985).jpg
Homage à, from model, NY studio
Double Reflection with cat
Double Reflection with gold
Dance of Death (Salome series)
Danse Macabre (Salome series)
after Leon Bakst (Salome series)
L'Après Midi, NY studio 1964
Blue Nude with Canterbury Bells (1)
Blue Nude with Canterbury Bells (2)
About Figures & Nudes:
Lillian’s love of painting figures is evident from the beginning of her career, seen in her New York studio series of large oil paintings, and continued throughout her life.
The figures are usually female and often nude, yet never voyeuristic or sensual for its own sake. Rather, they invite us to an intimacy with the inner life of the subject, to glimpse a mood, a feeling or a dwelled upon thought.
They also reveal Lillian’s attention and commitment to the subject: to provide both an outer expression and evoke an inner perception. This simultaneous expression of both inner and outer dimensions can be recognised in much of Lillian’s work.