...Sharrer’s paintings were realist with a surreal edge – figures were slightly out of proportion, often with sickly skin tones, surrounded by symbols that can be hard to decipher, like bent silverware, an electrical extension cord, oddly placed birds.
She also had a strong feminist and socialist political perspective. Her nudes in paintings loosely based on Greek mythology are often confidently looking at the viewer, neither demure nor seductive (irrespective of the nefarious libido of Zeus), rather affecting a certain strength.
In commenting on his wife's work, Zagorin noted it had a "slant view." That's maybe the best way to describe it. We see a naked, orange-hatted St. Jerome sharing space with menacing Japanese figures, a butcher standing amidst porcine carnage and a famed Greek statue, a commentary on modesty patterned after The Trojan Archer, a putdown of the horsey set with a backward riding Godiva, an odd ballet, and a hysterical "ordinary" outing whose elements include a small car, a flamingo, a nude woman, and Pan peeling an apple. Slant views indeed. Sharrer's career revived somewhat when society loosened in the late 1960s, but she never regained her earlier spotlight. By her death in 2009 she was little known outside of the art world's inner circle. The best category for Sharrer is perhaps art's most populous: those that obtain posthumous appreciation.
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