File:Leigh Behnke Brooklyn Bridge Compositional Study (2nd Version) 1983.jpg

Multi-panel painting by Leigh Behnke, Brooklyn Bridge Compositional Study (2nd Version) (watercolor on paper, 53" x 40", 1983 Collection of Zurich Kemper Investments, Inc.). The image illustrates a mid-career stage and maturing body of work in Leigh Behnke's career in the late 1980s and early 1990s, when she increasingly turned to New York City cityscapes as a subject; it also provides an example of her watercolor practice and distinctive use of the predella, a horizontal, multi-frame pictorial device of subsidiary, adjoined images, historically used on early-Renaissance religious altarpieces. This work and similar works have been publicly exhibited in prominent venues in the U.S. and internationally, discussed in major art journals and daily press publications, and acquired by museums.

Artist Leigh Behnke. Copyright held by the artist.

Leigh Behnke

Entire artwork

Yes

The image serves an informational and educational purpose as the primary means of illustrating a mid-career stage and maturing body of work in Leigh Behnke's career in the late 1980s and early 1990s: her New York cityscapes, which introduced a greater sense of temporality and layered meaning in her work through the use of the predella, a horizontal, multi-frame pictorial device of subsidiary, adjoined images often used on early-Renaissance religious altarpieces; the painting also provides an example of her watercolor practice, which attracted national attention in major traveling shows. Behnke's cityscapes brought disparate viewpoints (bird's-eye, low-angle), dramatic changes in scale, and tightly cropped fragments into dialogue with one another to portray urban experience as visually complex—continuous, fragmented, dislocated, monumental and transient—and ambiguous in its effects. Because the article is about an artist and her work, the omission of the image would significantly limit a reader's understanding and ability to visualize this distinct, key body, which brought continuing recognition in prominent exhibitions, major art journals, books and daily press publications, and museum acquisitions. Behnke's work of this type and this work in particular is discussed in the article and by prominent critics cited in the article.

There is no free equivalent of this or any other of this series by Leigh Behnke, so the image cannot be replaced by a free image.

The image will not affect the value of the original work or limit the copyright holder's rights or ability to distribute the original due to its low resolution and the general workings of the art market, which values the actual work of art. Because of the low resolution, illegal copies could not be made.