Harriet Heide, f. Block 1901

Julius Paulsen’s portrait of Harriet Heide seems so immediate, like it was made in one sitting with whatever was at hand. Look at how the dark paint of her dress and the background almost merge, a kind of push and pull that keeps your eye moving. The materiality here is so present; you can see the textures of the paint and the way Paulsen worked the surface, especially in the folds of the dress. It’s thick and opaque, almost sculptural. Check out the way he captured the subtle light on her hands, a small detail that really makes the piece. They're clasped together and somehow radiate calm and contemplation. This reminds me a little of Whistler's tonal paintings, where the mood is as important as the subject. Ultimately, it's about the process, the conversation between the artist, the sitter, and the paint itself. It’s a reminder that painting is never really finished, just abandoned.