The star of the exhibition is a painting around 1952, which may reflect O’Connor’s alternative orthodoxy. In the large self-portrait created in the Lupus attack, O’Connor stares at us, the Byzantine Saint’s death pot stares at us, a golden sun hat that swallows her head like a halo. The stroke was flat. More than just expressing more illustrations. She called St. John with an eagle, shook the pheasant, staring at the angry red eyes and the horns of feathers. (The painting is still owned by her property.)
O’Connor There is evil power in the house. (The show also includes a accompanying red Satan puppet from her youth.) O’Connor mailed photos of the portrait to a friend and mailed her publisher The Dist Jacket (never used): “No one except me, thanks for my painting.”
All regional artists may be some sort of portrait painter, making themselves and external truths form images. swing Andalusia showed up the porch, where I drank the last coffee cup, and I stared at the gravel road. On O’Connor’s days, the yard around the house will be cleaned up. Today, it is rich in pecan trees and Bradford pears. She designated a bag for Georgia that was forced to return. “The longer you look at an object, the more worlds you see in it,” she wrote in the article.
