Suzanne Valadon, “Self-Portrait” (1911) (photo Hrag Vartanian/ Hyperallergic) ... He took the last name Utrillo, after a friend who signed paternity documents when the boy was an adolescent.

Valadon painted self-portraits as she aged, eschewing idealized views of herself. Pictured: "Self-Portrait," 1927. In the last decade of her career, Valadon exhibited worldwide, with shows in New ...

The last thing the woman in the 1923 work "The Blue Room," often cited as Valadon's masterpiece, is going to do is change her posture or her expression or her clothes.

Suzanne Valadon modeled for some ... In the way that, as Brice suggests, her portraits of other people are “always, to a degree, a self-portrait ... The last thing the woman in the 1923 ...

Her female nudes were extraordinary for the time because she portrayed female sexual desire. Her subjects defied conventional ideals of femininity. Suzanne Valadon, "Self-Portrait" (1927 ...

Marie-Clémentine Valadon went by the name Maria when she modelled for Parisian artists such as Pierre-Auguste Renoir and Henri de Toulouse-Lautrec, but by the time she painted one of her finest ...

But Valadon’s art was certainly rebellious. Her 1909 “Adam and Eve,” a moody, greenish-gray self portrait with Utter that shows them plucking fruit from the Tree of Knowledge, may have been ...

Valadon painted self-portraits as she aged, eschewing idealized views of herself. Pictured: "Self-Portrait," 1927. In the last decade of her career, Valadon exhibited worldwide, with shows in New ...

Marie-Clémentine Valadon went by the name Maria when she modelled for Parisian artists such as Pierre-Auguste Renoir and Henri de Toulouse-Lautrec, but by the time she painted one of her finest ...

Valadon painted self-portraits as she aged, eschewing idealized views of herself. Pictured: "Self-Portrait," 1927. In the last decade of her career, Valadon exhibited worldwide, with shows in New ...