Her sociability and affection for her colleagues can be seen in many works. Her 1962 sculpture, Night Voyage: Homage to Joseph Cornell
, pays loving tribute to
, a quixotic maker of
. She mimics his use of boxes as metaphors and allusions, filling her own with a pocket watch, a carved wooden bird, and an exhibition announcement for Cornell’s 1953 show at Egan Gallery.
Schloss achieves numerous effects in her
, emphasizing textures and forms through her pointed deployment of color, in a manner similar to painters like
. In Mont Amiata
(1965), a still life-as-
, the top of the paper fades gradually and seamlessly from a pale turquoise. At right, verdant green tones, in a mix of dry and wet brushstrokes, suggest foliage limning a central still life: a vase and chalices in bright green, blues, white, and red. Pink flowers burst at center. All the colorful activity of the image serves as a busy counterpoint to the spare depiction of Tuscany’s Mont Amiata, drawn with one blue line in the distance.
Schloss is less known today than many of her contemporaries but is no less talented. Her work stands as a bridge between their radical reinvention of painting and the old world that they left behind. She was a painter of pictures, but also a painter of life.