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                <text>The attention to detail within this portrait shows a selection of what Parsons chose to be necessary. Much in the style of sketches by Annibale Carracci, this seems to be made directly from life, with a selective attention to the defining details that capture the essence of the sitter. This is in contrast to previous portraits within these sketchbooks, as Parsons has more often portrayed the entire character rather than a headshot. However, even in the cases where she has chosen to be selective in the part of the body, she has shown, generally, she has been more defined within her portrait. Here the lines of the head are highly sketchy, and the emphasis can be seen as being placed upon the expression and personality, rather than on the physical character. </text>
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                <text>This sketch is an extension of the general tendency throughout these sketchbooks of Parsons' experimenting with mixing different mediums. With this image, in particular, the interplay of line, color, and medium can be seen as a precursor to the ideology behind later collages. In the lower of the two sketches of the young girl color and line become an alternative method to the purely figurative, substituting the reality of the sketch directly into abstraction. This substitution gives a new life to the figure, creating movement in an otherwise still image. </text>
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                <text>In the sketchbooks, Parsons rarely turns her attention to being botanically accurate, in the first sketchbook the trees and shrubs are minimal line drawings that only evoke the thought of a tree. However, this sketch of a plant seems much more accurate. It is unclear why this would be the case, as it is a fairly isolated incident. It is possible that Parsons was particularly interested in the color and the line, however, this is not certain. </text>
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                <text>Sketchbook 2, Image 4</text>
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                <text>This portrait of a young girl is within the tradition of this sketchbook. The young girl is posed and seems to know that she is being sketched, with her gaze inviting the artist to continue their work. The figure is slightly older than the second image in this section, and could possibly be a family member or a student at the YWCA. </text>
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                <text>This scene of a female dog feeding her puppies is another example of Parsons taking directly from her everyday experience to create a work of art. It is not immediately clear what is being depicted, however, after a few moments the figures become identifiable. This method of creating ambiguous forms shows an interest in creating images that are more intellectually stimulating through the usage of differing rendering. </text>
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                <text>The highly personal nature of the portraits are, in this sketchbook, relatable to that of Annibale Carracci's early sketches of living models. There is a relaxed quality to the figures as if they were accustomed to being depicted by Parsons. These characters transform the sketchbook from a tool for practice into a journal of sorts where Parsons is able to document the people of her life through art. &#13;
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                <text>This sketchbook focuses on the everyday life of Eunice Parsons. Often times this means that the subject is less focused upon being art, and more so upon a sense of breaking through the banality of life. In this image, Parsons is taking pots on the stove and transforming it into an artwork. Her usage of line has improved and as a product, she is able to create more naturalistic images than in her previous sketchbook. </text>
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                <text>This sketch shows Parsons' experimentation with multiple mediums on one page and how the artist uses her surroundings as a testing ground for different methods of rendering. </text>
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                <text>After returning from the East Coast, Parsons' takes on several consistent subjects in her sketches. One of these primary motifs being a young child, possibly a baby, and its caretaker. These sketches are often playful and light-hearted, capturing an intimate moment in the family life of Parsons in a role other than an artist. &#13;
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                <text>By far the most emotionally evocative portrait in the sketchbook, this seems to be highly personal. The older woman portrayed is caught in a moment of somber repose which Parsons is able to capture through a highly naturalistic style. Parsons seems focuses on capturing an empathic quality, however, this is not an isolated attempt. In fact, Parsons becomes increasingly aware of the importance of creating an emotional connection to her subject. This image could represent the beginning of the attempt to portray a specific emotion, and may also be a reflection of the artist's own feelings after returning from such a stimulating experience away from the Northwest. &#13;
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