b'the overhanging branches in the most immediate foreground, and the quick shifts of color the eye sees when looking across the lawn. Her marks for the branches arabesques are so free and colorful that the large watercolor appears nearly abstract, with the graphic vigor associated with the paintings by the late Joan Mitchell, whose works were well known to Ruttenberg as a fellow Chicago artist. Watercolor Study 5 addresses similar spatial concerns, primarily with slightly windswept branches visible in the immediate foreground as quickly sketched lines trailing aggregated flourishes in many shades of green, indicating the leaves turned every which way to register levels of shadow, sun, and color. In terms of scale, the branches rival the various background buildings along 59th Street, these treated no less atmospherically in various shades of mauve. Left: Detail from Lemonade.Right: The Joy of Life, Henri Matisse, 1906.'