This Untitled Abstract Painting (circa 1963 or 64) is one of the last paintings made by Eva Hesse before she switched to sculpture. Its deconstructed symbols, figures, and shapes evoke natural forms and bodies without ever being directly identifiable. Delicate brushwork, soft colors and a light, witty touch lend this work a feminine quality that she intended as a rebuke to the masculinity of Minimalist Art. Hess was reading Simone de Beauvoir’s The Second Sex at this time, and the text led her to question her own fragmented status as artist, woman and wife. Her work, though not overtly political, explores these issues in poetic, expressive abstractions.
Hard Sweetness (1971) is one of Joan Snyder’s Stroke paintings, a series in which abstract imagery and mark-making register personal and political struggles and decisions. Snyder began making art in the late 1960s, a time when men dominated the art world. Her sensibility and style were inspired by feminism, music, Expressionism, and her own life experience, as well as dislike of the distilled macho aesthetics of Minimalism.
Hard Sweetness uses strokes of paint in soft stains, loose washes, and thicker scumbling ( applying a very thin coat of opaque paint to give a softer or duller effect) to create rhythmic, almost musical passages of color across the canvas. As the title of this work suggests, Snyder blurs the distinction between the senses of sight, taste and perhaps even sound and smell. Like her contemporary Eva Hesse, she balances a feminine palette with a muscular formal complexity.