Mountain ranges and female bodies, with their slopes and crevices, precipitous peaks and valleys, are recurring motifs in Jeanette Mundt’s work, and they anchor this succinct, alluring show, appearing in the two most striking paintings. The Matterhorn, beloved by centuries of artists, is rendered in radioactive shades of cobalt, coral, and teal in Another Double Mountain and the Modern Sofa (all works 2016). And in Climbing, Mundt nods to Henri de Toulouse-Lautrec, copying the nude figure from his painting Crouching Woman with Red Hair, 1897. Both of Mundt’s works are painted on large, upright wooden panels supported by pipes. The artist’s treatment of their edges is deliberately rough. In Climbing, the perimeter veers wide in places, exaggerating the woman’s ample derriere, yet cuts closely elsewhere, carving a jagged notch out of her breast.https://artsorigin.com/wp-content/uploads/2019/07/pexels-photo-9532669-e1631865767607-1.jpeg
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