The early years of George Platt Lynes’ career read like a Hollywood film script. Gifted and financially secure, he was privately educated and well-traveled. In the ’20s Lynes went to Paris, where he became acquainted with Man Ray and with Gertrude Stein and the writers and artists of her circle; by the middle of the ’30s he had established himself in New York, and, though not yet 30, had achieved success in the commercial and fashion photography fields and had exhibited his art photography at the Julien Levy Gallery and at the Museum of Modern Art. His achievements, however, were balanced by

Judith Golden’s most recent work, the “Portraits of Women” series, is a departure from the mixed-media, pop-magazine, self-portrait fantasies the photographer produced in the mid-’70s. This series is comprised of Cibachrome prints, ranging in size from 16-by-20 inches to 30-by-40 inches, to which color dyes have been selectively applied. Golden photographs her subjects in a studio setting against backgrounds of brightly colored satin swatches; the women are pictured from the waist up, with Sanderesque solemnity. Costumes, combinations of the subject’s own attire and the studio inventory, run to