Victoria Gitman rummages through flea markets for vintage ladies’ handbags and jewelry with minimalist designs and intricate patterns, then renders them to scale so precisely that a critic once attributed her work with “a verisimilitude that verges on magic realism.” The painstaking depictions of every glass bead and swatch of lace recall the illusionism of Old Master paintings, while the dainty subjects suggest fetishistic obsession. Similarly conceived and executed with equal meticulousness are Gitman’s “The Beauties” (1998-2000), a series based on small portraits by Jean-Auguste-Dominique Ingres. In these paintings and graphite drawings, which can take months to complete, Gitman replaces the immediacy of Ingres’ brushstrokes with steady, deliberate lines. While “trying to capture somebody else’s style and somebody else’s marks,” as she describes, Gitman nonetheless adds some of herself, transforming the works into studies in the perception of beauty and femininity.