It was only in retrospect that Ghislaine realised how by simply painting Michael holding their baby daughter, she was unconsciously introducing a new take on the time worn image of...
It was only in retrospect that Ghislaine realised how by simply painting Michael holding their baby daughter, she was unconsciously introducing a new take on the time worn image of the mother and child. The circular composition is particularly impressive, as the intensity of Cordelia’s gaze reaches out to engage with her father whose presence is registered only by his enfolding arms.