This unique self-portrait reflects changing attitudes toward women in the early 20th century as well as an expansion of opportunities clearly embraced by the artist. Depicting herself as a working artist with paintbrushes in each hand, Richardson strides forward into the light, hardly slowing to meet the eye of the viewer. Richardson's direct gaze, knowing smile, and the work's sense of movement and vitality convey a self-confidence and professionalism associated with the era's so-called New Woman. In contrast to the Gibson Girl, the more decorative symbol of contemporary femininity, Richardson chose to depict herself with eyeglasses, a no-nonsense hairstyle, a painter's smock, and rather masculine collar and tie. A native of Winnetka, Illinois, Richardson came to Boston for artistic training, studying with "Boston School" Impressionists Joseph De Camp and Edmund C. Tarbell. Primarily a portraitist, she found early success and won a number of awards. Not following the lead of her famous teachers, who tended to paint women as gauzy, vapid beauties, Richardson favored strong, active female sitters, including fellow artist Laura Coombs Hills and Mary Baker Eddy, founder of the Christian Science Church. As 'A Motion Picture" may imply, Richardson was known for painting her sitters so truthfully that many felt her portraits were unflattering. Unfortunately, Richardson's commissions dwindled with the Depression, and she closed her studio in 1943. [https://www.pafa.org/collection/motion-picture] In 1913, her self-portrait "A Motion Picture" was purchased by the Pennsylvania Academy of the Fine Arts for their collection of artists' portraits. [http://international3632.rssing.com/chan-38673209/all_p2.html] In Richardson's Self-Portrait, A Motion Picture, she painted herself in action, prepared to paint. As one critic observed, "She's striding forward at full tilt, brushes in both hands, looking as if she can't wait to attack the canvas. Her expression is one of gusto and almost missionary zeal. Hers is a self portrait you might back away from." Another scholar remarked that the portrait "effaces many of the contemporary markers of femininity" to portray a more modern New Woman. [https://en.wikipedia.org/wiki/Margaret_Foster_Richardson]