b'ple, the first of her Central Park paintings is a 21st century counterpart to Puvis de Chavanness Sacred Grove (1884-1889), which depicts an imaginary park from antiquity with a classical shrine nearby where women and children, half-clad in togas, suggest some perfect ancient harmony of life. More specif-ically, at the far left edge of Ruttenbergs painting she includes the silhouette of the man in a high hat who famously appears facing the other way as the tallest figure in Seurats Sunday on the Island of La Grande Jatte (1884-1886). How could Ruttenberg avoid thinking of her own painting in relationship to Seurats famous icon of modern art devoted to Parisians in a park, cele-brated in the 1984 Stephen Sondheim musical, Sunday in the Park with George. Her many references to famous works of art are anything but gratuitous, Left: Detail from Roller Blades.Right: A newspaper clipping was an inspiration.'