Strömholm practiced painting and the graphic arts before taking up photography in the late 1940s and is best known today for a series of sensitive, unsensational portrayals of a community of transsexuals living in the Place Blanche section of Paris in the late 1950s. This melancholic study of a damaged painting in the rue Lepic from the same moment refers back to the artist’s earliest photographs showing the worn and weathered surfaces of walls; the violent gash through the forehead of the painting’s subject punctuates Strömholm’s belief that art, like the residue of trauma, always points to something beyond that which is visible.
Inscription: Signed in ink, verso BRC: "CHR"
Estate of the artist; [Marvelli Gallery, New York]
The Metropolitan Museum of Art. "Johnson Gallery, Selections from the Collection 58," January 10, 2012–May 6, 2012.