File:Judith Belzer From the Anthropocene.jpeg

Painting by Judith Belzer, From the Anthropocene #5 (oil on canvas, 60" x 60", 2015). The image illustrates an mid-career body of work by Judith Belzer: her non-specific invented landscapes of the 2010s, which critics related to works by Wayne Thiebaud and Richard Diebenkorn, van Gogh and Munch, and the Abstract Expressionists. These sketchy panoramas were informed by her Berkeley-hills view of the Bay Area, in which mountain and maritime landscapes blurred with industrial outlooks and infrastructure, They depict abstracted freeways, refineries, bridges and parking lots intersecting and jostling against fields, marshes and organic forms. These paintings were publicly exhibited in prominent venues, discussed in major art journals and daily press publications.

Artist Judith Belzer. Copyright held by the artist.

Judith Belzer

Entire artwork

Yes. The image will not affect the commercial value of the original work or limit the copyright holder's rights or ability to distribute the original due to its low resolution and the general workings of the art market, which values the actual work of art. Because of the low resolution, illegal copies could not be made.

The image has contextual significance serving an informational and educational purpose as the primary means of illustrating a body of work from Judith Belzer's mid-career, in the 2010s, when she produced semi-abstract oils and watercolors depicting invented landscapes in which the natural and built worlds collide and adjoin. This work often has a playful, frenetic energy and sometimes dystopian quality. It is characterized by as intensified color palette, gestural, linear mark-making like text, sweeping graphic patterning, and off-balance, vertiginous views with multiple vantage points. Because the article is about an artist and her art, the omission of the image would significantly limit a reader's understanding and ability to understand this key body of work, which brought Belzer wider recognition through exhibitions in major venues, coverage by major critics and publications, and museum acquisitions. Belzer's work of this type and this series, as well as this specific work, are discussed in the article and by critics cited in the article.

There is no free equivalent of this or any other of this series by Judith Belzer, so the image cannot be replaced by a free image.

The image use is minimal in that it conveys important information that a full artwork image at a limited fair-use size cannot due to the uniquely hyper-detailed nature of the work. By providing a close-up of the artist's style and imagery, it is significantly more informative for a viewer. It is also a further protection (along with the low resolution) against affecting commercial value.