What Is Judy Chicago'S Most Famous Artwork?

For one year, I believed Matteo De Luca had truly fallen in love with me. Our marriage began as an alliance, but he held me every night, kissed me before council meetings, and fastened the De Luca Donna brooch at my throat as if I already belonged beside him. Then his first love, Vanessa Ashford, came back. Within days, our official ceremony was postponed, her access was added to the Donna wing, and Matteo stopped wearing the family signet he once used to claim me in public. He said it was council business. But council business did not leave amber perfume on his skin. It did not sit beside him on a private jet to Palm Beach. And it certainly did not smile from the Donna’s chair while his friends watched me lose my place. The final humiliation came at a private dinner, when someone asked whether I was Matteo’s wife. He looked at me, then said calmly, “Elena and I have an arrangement.” That night, I stopped waiting to be chosen. Matteo could keep his first love, his title, and the home he let her enter. I packed my passport, my Florence contract, and the prenatal report he had never seen. Then I left New York with his child.

When I was five, I was kidnapped, and the people behind it memorized my face. To protect me, my older sister, Julianne, said, "Maddie, you need to stay out of sight for your own safety." From then on, she took my place whenever I was supposed to appear with my fiance, Adrian Moretti. At the grand opening of his casino, she said the crowd would be too dangerous, so she wore my dress and cut the ribbon beside him. At the Conti family's victory gala, she claimed our enemies might be lying in wait, so she took my invitation and danced with Adrian. After every event, she would pat my head and say: "Once the two of you are married, I can finally stop worrying." I always believed she was doing it for my sake. Then, before my wedding to Adrian, she put on my wedding gown and publicly stood in for me at the rehearsal. She posted pictures on her social media page. Wearing the gown that was supposed to be mine, she stood at the end of the aisle with her arm linked through Adrian's. The caption read: [I tested everything for Maddie first. It was all perfect.] The first comment underneath was from Adrian. [That dress suits you.] I stared at those words for a long time as my heart slowly turned cold. It was time to end this game of replacing me in the name of protecting me.

Jessica Jane is invisible by design. Quiet, soft spoken, and almost painfully unassuming, she spends her days hidden behind oversized glasses and paint stained hands in her elegant city art gallery. To the people around her, she is simply a gifted but awkward artist, a woman who keeps to herself and pours her emotions into hauntingly beautiful paintings that seem to possess an almost unsettling depth. Critics call her work raw. Emotional. Alive. They have no idea how right they are. Behind the gallery walls lies a secret darker than anyone could imagine. Jessica's masterpieces are not created with ordinary paint. Mixed into every canvas is the blood of the men she chooses as her subjects, men she believes escaped justice, men whose cruelty mirrors the monsters that stole her childhood. By night she becomes someone unrecognisable. Elegant, calculated and merciless, hunting predators who believe they are untouchable. As her artwork gains international attention and a determined investigator begins noticing disturbing patterns surrounding missing men, Jessica finds herself balancing two identities that are beginning to collide. Because the closer the world gets to discovering the truth, the more dangerous Jessica becomes. And buried beneath the blood, vengeance and carefully constructed masks is an even darker question: Is Jessica Jane delivering justice... or becoming the very thing she has spent her life trying to destroy?

My grandmother only knows how to draw one thing—infants. They're ugly, but people line up to buy the paintings. I watch as she takes those women into unlit rooms. Then, their bloodcurdling screams will ring out. Oddly enough, they always thank my grandmother when they're leaving. One day, I finally find out what exactly my grandmother paints. I discover the truth when I see an infant crawl out of one of the women's bellies—it looks just like the one my grandmother has painted.

My mother was the best portrait artist in the police station. She had a strong sense of justice and brooked no evil. However, all I got was a sharp retort when I called her to save me. "You know it's your sister's coming-of-age celebration today, and you're cursing her? Kidnapped, are you? Fine, the kidnappers can kill you for all I care." She assumed it was a prank call. So, she refused to go to the police station and do her job. I wasn't saved in time and was tortured to death. When the DNA report came out, she came to the scene all wobbly. She drew a portrait of me with my bones as reference, her hand trembling all the way. "Jessica? It can't be her. This is a mistake!" She tried again and again. Yet, it didn't matter how many times she redid it as the portrait showed my face. My mother, who had hated me my whole life, teared up.

After setting up the camera, I realize the clients for the family portrait are my parents and sister—the very people I ran away from five years ago. The moment we make eye contact, the smile on my mother's face freezes. Her eyes turn red-rimmed, and she hesitates before asking, "Mora… Is that you? You're alive?" Placing my finger on the shutter, I remind them, "Keep smiling. Look at the camera." My father shoots to his feet. "Are you still mad at us? You've avoided us for five years. What kind of grudge between family members can't be resolved after all that time?" I look at Mora, the dog who shares my name, as it stands beside my sister. I don't understand why Dad's angry. After all, they're the ones who spent years brainwashing me into believing I'm nothing but a bone marrow provider for my sister, Eva Fletcher. Even the dog makes it in the family photos that I wasn't allowed to be in as a child. I've long given up on needing such a family.