b'of the basic passing car image, each five feet wide, each with its own mys-terious figures, resulting in a sweeping, 80-foot-wide overall image. So full of colors and uninhibited figures, often informal mixtures of highly resolved sections really located well to the north of where Rutten-berg was standing to observe everything else. This fountain adds a touch of classical grandeur to her painting as well as a hint of feminism, consid-ering how the fountains bronze angel (1868-1873) by Emma Stebbins was the first work of art commissioned from a woman in New York. There are lots of references to famous paintings in the Art Institute of Chica-go, a collection Ruttenberg learned by heart when she raised her family in that city during the 1950s. With its misplaced Bethesda Fountain, for exam-Left: Detail from Roller Blades.Right: Detail from Le Djeuner sur lHerbe, by Edouard Manet, 1862-1863.'