Hurtado often depicted herself with objects from her surroundings. This detailed interior scene, although not a conventional self-portrait, offers an intimate glimpse of the rich collection of art and artifacts she and her husband Lee Mullican lived with at home.

To make this work, Hurtado traced the outlines of herself and her youngest son, John, then age four.

Untitled, 2019

Ink on paper
Courtesy of the artist and Hauser & Wirth © Luchita Hurtado
Photo: Jeff McLane/Hauser & Wirth

Hurtado’s handwritten observation on this page of her notebook demonstrates her keen attention to human figures and figure relationships across the history of art.

In its formal composition, this drawing references the folded-arm figures of ancient Cycladic art, like the one Hurtado documented in the sketch-book drawing at right.

This drawing, composed of eight strips of cut and reassembled paper, anticipates the much larger cut and resewn canvases Hurtado made in the 1970s.

Untitled, c. 1950

Crayon and ink on paper
Collection of Chris Wiley © Luchita Hurtado
Photo: Genevieve Hanson/Hauser & Wirth

Untitled (Self Portrait), c. 1968

Oil on linen
Courtesy of the artist and Hauser & Wirth © Luchita Hurtado
Photo: Jeff McLane/Hauser & Wirth

Hurtado made this print at the invitation of her friend June Wayne, founder of Tamarind Lithography Workshop. Wayne famously questioned Hurtado about the use of her married name during the first meeting of the Los Angeles Council of Women Artists in 1971. As the story goes, Hurtado introduced herself to the group as “Luchita Mullican.” Only when challenged, “Luchita what?” by Wayne, did she proudly answer, “Luchita Hurtado.” In a recent interview with Hans Ulrich Obrist, Hurtado recounted, “It became very important in my life to remember that name.”