tag:blogger.com,1999:blog-87200840875398557282024-02-19T08:54:06.521-08:00Art MattersThis blog describes why art matters. You will develop a set of tools enabling you to see the art in works of art. You will learn to see the way artists’ see. You will transform the very world you thought you were seeing every day into visual adventures. You will be equipped to do this work by learning to see.Marilyn Baumanhttp://www.blogger.com/profile/09221864675491721708noreply@blogger.comBlogger85125tag:blogger.com,1999:blog-8720084087539855728.post-80228697364659461462016-09-11T10:33:00.000-07:002016-09-22T06:07:39.970-07:00Mountains Don't Complain<!--[if !mso]>
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This past week, my 6-year-old granddaughter Sophia visited
me.<span style="mso-spacerun: yes;"> </span>I showed her the painting I was
working on, using as my subject, her and her twin brother Jack sitting in a
tree.<span style="mso-spacerun: yes;"> </span></div>
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<br /></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">This
one:</span></div>
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<br /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZjXFz5EHMAa6bd7CvftWlPoSeAxwKuExTW1Irt4W9By1UuyJ7gYJFI70nLVfKpZGpYQjbzSB1QuKm_KyhuSZhROR1wUhtIXdgAXK1X0DqxZSEvJ8ktzNT9n1yEtTMZWbE3t5jCWrOJJUY/s1600/Twins+in+a+Tree+9.16.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="255" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZjXFz5EHMAa6bd7CvftWlPoSeAxwKuExTW1Irt4W9By1UuyJ7gYJFI70nLVfKpZGpYQjbzSB1QuKm_KyhuSZhROR1wUhtIXdgAXK1X0DqxZSEvJ8ktzNT9n1yEtTMZWbE3t5jCWrOJJUY/s320/Twins+in+a+Tree+9.16.jpg" width="320" /></a></div>
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She took a quick look at it and said, “I look like an
elf.”</div>
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<br /></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">At
the same time, another painting I was working on sat on another easel.<span style="mso-spacerun: yes;"> </span>I had no one to show it to for a reaction,
because the painting uses, as its subject, a landscape I started in Crested
Butte, Colorado, and I am sure the mountain, or the trees, or the path, or the
weeds do not have anything to say. </span></div>
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<br /></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">This
one:</span></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsrWoekV63BK_ev7yB3mhAdPCZZ_Y56ws4544Cdz44tqiEKZlFdVSp4zvpp1D6Kd8w7o1rsh8DhNsMSe4MuxoJ2Qsi0erVHMcaMnLLg2G6fifDO3UOUJla8aPocgRiD1EFaKgqoN4K16GW/s1600/Crested+Butte+2016.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsrWoekV63BK_ev7yB3mhAdPCZZ_Y56ws4544Cdz44tqiEKZlFdVSp4zvpp1D6Kd8w7o1rsh8DhNsMSe4MuxoJ2Qsi0erVHMcaMnLLg2G6fifDO3UOUJla8aPocgRiD1EFaKgqoN4K16GW/s320/Crested+Butte+2016.jpg" width="262" /></a></div>
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<br /></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">However,
as I worked on it, passersby did.<span style="mso-spacerun: yes;"> </span>Many
simply shouted I was doing a good job as they rode by on their bikes, but a boy
of about 5 or 6 years old stopped with his mother to look at the painting, and
he asked me why I had a “rainbow of colors” at the bottom of the picture.<span style="mso-spacerun: yes;"> </span>He was referring to my abstract underpainting.<span style="mso-spacerun: yes;"> </span>It still showed because I had not yet covered
it with what I was seeing.<span style="mso-spacerun: yes;"> </span>At that
point, it looked like this:</span></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIxMVLOcaoq4rkwPwxSEhpxcAKU_QejRUv12hSF7467vzOnQGqxib1TGOGyTxfduWYJRTUFA1uVHZORRNI45RcOw9ZN3yluLp5PEAKMh3iREgKmdhN0u6WrJrXYuG8SXZeLYzFAsbm_x18/s1600/Crested+Butte+2016+3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIxMVLOcaoq4rkwPwxSEhpxcAKU_QejRUv12hSF7467vzOnQGqxib1TGOGyTxfduWYJRTUFA1uVHZORRNI45RcOw9ZN3yluLp5PEAKMh3iREgKmdhN0u6WrJrXYuG8SXZeLYzFAsbm_x18/s320/Crested+Butte+2016+3.jpg" width="246" /></a></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"></span><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">I
launched into a long description of how I made abstract underpaintings based on
cubist visual ideas and then I wove what I was seeing into those geometric
shapes.<span style="mso-spacerun: yes;"> </span>He actually pondered this
complex explanation (or that is what I hoped he was doing as his eyes glazed
over), then simply said, “I like it.”<span style="mso-spacerun: yes;"> </span>I
told his mom I hoped he would be an art critic when he grew up.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Violette
de Mazia wrote several essays about creative distortion, and in <i style="mso-bidi-font-style: normal;">Creative Distortion:<span style="mso-spacerun: yes;"> </span>III. In Portraiture </i>and <i style="mso-bidi-font-style: normal;">Creative Distortion IV: Portraiture II, </i>she
describe<span style="font-family: "times new roman" , "serif";">d</span> the factors that enter into what we refer to as portraiture.<span style="mso-spacerun: yes;"> </span>First, and foremost, she said portraiture
“deals with human beings, or, at least, things alive in the ordinary sense of
the word.” (<i style="mso-bidi-font-style: normal;">Creative Distortion: III. In
Portraiture,</i> The Barnes Foundation, Journal of the Art Department, Vol. IV,
No. 2, Autumn, 1973, p. 4)</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Beyond that, as Dr. Barnes argued and I
mentioned in my post </span><a href="http://whylookatart.blogspot.com/2016/03/whats-in-face.html"><span style="color: blue; font-family: "times new roman" , "serif"; font-size: 12.0pt;">What’s in a Face?</span></a><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">, most of the other requirements for a
painting to be called a portrait no longer are applicable in the 21<sup>st</sup>
century:<span style="mso-spacerun: yes;"> </span>the physical traits of the
models—their facial features and expression, their garments, their general
physical bearing—no longer are expected to play a major part in the
picture.<span style="mso-spacerun: yes;"> </span>Even compositional
challenges relating the figure to the setting to form a coherent unity does not
loom large either.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">What often drive artists’ nuts, however, are
the sitter’s feelings about the portrait.<span style="mso-spacerun: yes;">
</span>A pear doesn’t care.<span style="mso-spacerun: yes;"> </span>Neither does
a mountain.<span style="mso-spacerun: yes;"> </span>But a person, like my
granddaughter, does.<span style="mso-spacerun: yes;"> </span>The sitter can
complain, dictate, and object.<span style="mso-spacerun: yes;"> </span>Even more
frustrating, in the photograph I used, Sophia was wearing a dress with a repetitive
heart-shaped pattern, and if I had not remembered the following painting,
Bonnard’s, <i style="mso-bidi-font-style: normal;">Woman with Dog, </i>I might
have hung up my brush.<span style="mso-spacerun: yes;"> </span>The Bonnard
painting gave me courage to do something with that pattern that worked with my
picture.</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUdJ6qf7VALIrlybRgL-1Y9IpVs2LPHLh_GYdMcNCo2kBn5MSULe0U8AJPhECsIrDP10F2RIADS0zIJwViGpvLkEkWVg9WTOj93GO8YJCcNkvJaXCDZXWF1A3zRR9zwSNgbU2vGrPbX-wk/s1600/Bonnard%252C+Woman+with+Dog%252C+1908%252C+Oil+on+cardboard%252C+BF350%252C+Barnes.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="244" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUdJ6qf7VALIrlybRgL-1Y9IpVs2LPHLh_GYdMcNCo2kBn5MSULe0U8AJPhECsIrDP10F2RIADS0zIJwViGpvLkEkWVg9WTOj93GO8YJCcNkvJaXCDZXWF1A3zRR9zwSNgbU2vGrPbX-wk/s320/Bonnard%252C+Woman+with+Dog%252C+1908%252C+Oil+on+cardboard%252C+BF350%252C+Barnes.jpg" width="320" /></a></div>
<div align="center" class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: center;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"></span><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"></span></div>
<div align="center" class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: center;">
<span style="font-family: "times new roman" , "serif"; font-size: 10.0pt;">Bonnard, <i style="mso-bidi-font-style: normal;">Woman
with Dog, </i>1908, Oil on cardboard, Barnes</span></div>
<div class="MsoBodyText">
<br /></div>
<div class="MsoBodyText">
The question, therefore, is not whether the painting is a
portrait but, as Violette de Mazia argued, whether it is a portrait that is a
work of art—a new object in which the artist has done something “to and with
his subject to make this work significant in its own right.” (<i style="mso-bidi-font-style: normal;">Creative Distortion: III, </i>p. 9)</div>
<div class="MsoBodyText">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Now
comes the hard part.<span style="mso-spacerun: yes;"> </span>I will try to
examine my painting <i style="mso-bidi-font-style: normal;">Twins in a Tree</i>
to see what I have done.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Does
it surprise you I find this difficult to do?<span style="mso-spacerun: yes;">
</span>It shouldn’t.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">I,
and I suspect most artists, have no idea how to define the aesthetic visual
meaning of their work, and many complain about being asked to do so.<span style="mso-spacerun: yes;"> </span>Picasso said, “How can you expect a beholder
to experience my picture as I experienced it? A picture comes to me a long time
beforehand; who knows how long a time beforehand, I sensed, saw, and painted it
and yet the next day even I do not understand what I have done.” (Richard
Friedenthal, 1963, p. 260). <span style="mso-spacerun: yes;"> </span>When asked
what one of his paintings meant, Picasso answered. “I painted it.<span style="mso-spacerun: yes;"> </span>You figure it out.” <span style="mso-spacerun: yes;"> </span>Matisse said, “You want to paint?<span style="mso-spacerun: yes;"> </span>First of all you must cut off your tongue
because your decision takes away from you the right to express yourself with
anything but your brush.”</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">That
said, I will now put on my “objectivity hat,” and examine my own painting to
find out what I have done. Matisse also said an artist looks at a painting he
has just completed as “a mother examines her new-born baby—in the hopes of
understanding it.”<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">That’s
my goal, too. <span style="mso-spacerun: yes;"> </span>I want to understand it.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Here
is the photograph I used as my subject and the painting below it so you can
compare them easily:</span></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDx06dd-u_dMC-M3YSTesbiBVSG9EQNG14OKsYtnJkVXtH7I2rV9qoLatT7cn8p3ok67PGrwMOnbcKaDXVIKtTtU7_76tTpa5CqIptCOsxAj5RZECz9eNW8o0u3OttyLbOyL0R0bjEvAjf/s1600/Twins+in+a+Tree+9.16+photo.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDx06dd-u_dMC-M3YSTesbiBVSG9EQNG14OKsYtnJkVXtH7I2rV9qoLatT7cn8p3ok67PGrwMOnbcKaDXVIKtTtU7_76tTpa5CqIptCOsxAj5RZECz9eNW8o0u3OttyLbOyL0R0bjEvAjf/s320/Twins+in+a+Tree+9.16+photo.jpg" width="320" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-8nmQIdSWqz2OBFJbfB73Z5-ABStyzwj1GeFreOfJf0r9kPAjd4PJahE3mGbcU0p39J7NSun1SqohqK1RJiEamvvPDYoAyTsiarTG-8Dc5bRrJVmaE8l8pui4YzpFyTC41s7frVqebU55/s1600/Twins+in+a+Tree+9.16.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="255" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-8nmQIdSWqz2OBFJbfB73Z5-ABStyzwj1GeFreOfJf0r9kPAjd4PJahE3mGbcU0p39J7NSun1SqohqK1RJiEamvvPDYoAyTsiarTG-8Dc5bRrJVmaE8l8pui4YzpFyTC41s7frVqebU55/s320/Twins+in+a+Tree+9.16.jpg" width="320" /></a></div>
<div class="MsoNormal">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
</div>
<div class="MsoNormal">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">The
differences jump out.<span style="mso-spacerun: yes;"> </span>I filled most of
the picture space with the figures; I exaggerated the shapes of the tree trunks
to stress their curvilinear qualities; I made the patterns created by shadows
and the patterns in Sophia’s dress more obvious and more decorative.<span style="mso-spacerun: yes;"> </span>Harder to define, but important, the overall impression
of the painting is oddly eerie.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Upside
down, other qualities appear:</span></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvhZ30numpGQjd0OF0y76q-Zm88gyi4PVHXYOmkLT5bRNXIZVCE_1tSXQdIc5yWmbIeC9QDHsJfvUJpfNhF3FLYutHT27IFjjBHQ6CSJjWXXyHkW1958G6Fx_6UDVNQEUJvU8ccX7eXuZJ/s1600/Twins+in+a+Tree+9.16+inverted+%25283%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="255" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvhZ30numpGQjd0OF0y76q-Zm88gyi4PVHXYOmkLT5bRNXIZVCE_1tSXQdIc5yWmbIeC9QDHsJfvUJpfNhF3FLYutHT27IFjjBHQ6CSJjWXXyHkW1958G6Fx_6UDVNQEUJvU8ccX7eXuZJ/s320/Twins+in+a+Tree+9.16+inverted+%25283%2529.jpg" width="320" /></a></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"></span><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Sophia’s
arms and legs set up the thematic organization of the vertical as well as
diagonal color volumes of the tree trunks and branches.<span style="mso-spacerun: yes;"> </span>Now on the left, the tree trunk, like a
parenthesis, holds in the larger color volumes of the figures, while on the
right, the massive, gray “tree trunk” acts as a repoussoir, pushing back into
shallow space the two lighter gray and gold “tree trunks” while Sophia’s arm, a
light pink narrow band, now at the bottom right, slides further back into
deeper space. <span style="mso-spacerun: yes;"> </span>Sophia’s diagonal,
centered, large, bent leg pushes forward as her body sinks in between it and
her other arm like a deflated balloon held in place by two slanting bookends.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Jack’s
head looms forward as Sophia’s recedes creating the in-and-out, back-and-forth
movement in the picture.<span style="mso-spacerun: yes;"> </span>Further
enhanced by the tangle of “branches,” the tiny pockets of space between “tree
trunks” and “foliage,” the linear patterns in both twins’ “hair,” as well as
the patterns created by the “robot” image on Jack’s shirt, this movement builds
the surprising impact of the painting.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">No
longer is it a pleasant photograph of two happy kids cozily perched in the
crook of a tree. The painting is a series of high-keyed, unnatural, glowing
color units of contrasting snaky curves, twisted limbs (both human and botanical),
and dramatic in-and-out movements in shallow space.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">And
something about that is startling and compelling at the same time.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Yet
a portrait might not please the person or people depicted in it.<span style="mso-spacerun: yes;"> </span>One of the most famous examples of
displeasure occurred in 1967 when the artist, Peter Hurd, painted a portrait of
President Lyndon Baines Johnson.<span style="mso-spacerun: yes;"> </span>LBJ
fell asleep during the one sitting he allowed, and Hurd finished his painting using
photographs. <span style="mso-spacerun: yes;"> </span>LBJ hated it, and he declared
it "the ugliest thing I ever saw." Soon a pun was making the rounds
in Washington that "artists should be seen around the White House—but not
Hurd." <span style="mso-spacerun: yes;"> </span>Hurd donated the painting to
the National Portrait Gallery in the Smithsonian Institution.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">This
one:</span></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5rgAjrgp_IHYItX5kiaJ7XXn-JGFkd0TmUeg71apeA0e5b3jL5oNtdbcl2UYvIuQpvKrOIp2rdGmfMWwaMzWJeMLco6UE7pbb7uRaPZ3LXCxXW5YZvrfDwjpQUOkEaAS69v6u7Q_e0H0m/s1600/Hurd%252C+Portrait+of+LBJ.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5rgAjrgp_IHYItX5kiaJ7XXn-JGFkd0TmUeg71apeA0e5b3jL5oNtdbcl2UYvIuQpvKrOIp2rdGmfMWwaMzWJeMLco6UE7pbb7uRaPZ3LXCxXW5YZvrfDwjpQUOkEaAS69v6u7Q_e0H0m/s1600/Hurd%252C+Portrait+of+LBJ.jpg" /></a></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="mso-no-proof: yes;"></span><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoBodyText">
And Ira Glackens, the son of artist William Glackens, tells
how, when he was five years old, he “might have seen” one of his father’s
paintings at the 1913 Armory Show.<span style="mso-spacerun: yes;"> </span>He
definitely had seen it as his father worked on it, however, because this is what he later
wrote: <span style="mso-spacerun: yes;"> </span>“I do not recall seeing, though
it was surely pointed out to me, my father’s large canvas “Family Group,” with
myself looking like a monkey in it.” (<i style="mso-bidi-font-style: normal;">William
Glackens and the Eight</i>, 1957, p. 182).<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoBodyText">
<br /></div>
<div class="MsoBodyText">
This one:</div>
<div class="MsoBodyText">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvf0Ti-4zjpFOhc4NLwCxl5ybXo6xAvbOjZV4Y9c5QuiQ065lt3fMa98NLyI_gqALammQ2OdfdRG9_LxUH-upKaVbgiN7DN_xQvA3rvngQaE58NCOPlm9CG4x2H7pxSmcRiSK58ENyRNfZ/s1600/Glackens%252C+Family+Group%252C+1910-11%252C+NGA.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="273" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvf0Ti-4zjpFOhc4NLwCxl5ybXo6xAvbOjZV4Y9c5QuiQ065lt3fMa98NLyI_gqALammQ2OdfdRG9_LxUH-upKaVbgiN7DN_xQvA3rvngQaE58NCOPlm9CG4x2H7pxSmcRiSK58ENyRNfZ/s320/Glackens%252C+Family+Group%252C+1910-11%252C+NGA.jpg" width="320" /></a></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="mso-no-proof: yes;"></span><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-family: "times new roman" , "serif"; font-size: 10.0pt;">Glackens, <i style="mso-bidi-font-style: normal;">Family Group</i>, 1910-11, NGA</span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">What
my “elf” and Glackens’ “monkey” might find comforting is what Matisse said when
an onlooker commented “that is one horrible-looking woman” as she looked at his
painting <i style="mso-bidi-font-style: normal;">Woman with a Hat. </i></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoBodyText">
This one:</div>
<div class="MsoBodyText">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiklC1d3KEmN7Xs-juENDskG6RYSB5LSta785-gIWFSN_oLg7C8yckzICbkmTJosxm0SUXCuTzuvG0RSDO2lucIBPt01qDUx1IofxcnYARog_tayrQ5zrcTwH0PRnBSFVBLfAuBiksAtbTn/s1600/Matisse%252C+Woman+with+a+Hat%252C+1905%252C+San+Fransciso.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiklC1d3KEmN7Xs-juENDskG6RYSB5LSta785-gIWFSN_oLg7C8yckzICbkmTJosxm0SUXCuTzuvG0RSDO2lucIBPt01qDUx1IofxcnYARog_tayrQ5zrcTwH0PRnBSFVBLfAuBiksAtbTn/s320/Matisse%252C+Woman+with+a+Hat%252C+1905%252C+San+Fransciso.jpg" width="236" /></a></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"></span><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-family: "times new roman" , "serif"; font-size: 10.0pt;">1905, San
Francisco Museum of Modern Art</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Matisse
said, “If that were a woman, I would myself run away from her. But it is not a
woman; it is a picture.”<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;"><span style="mso-spacerun: yes;"> </span></i></span></div>
Marilyn Baumanhttp://www.blogger.com/profile/09221864675491721708noreply@blogger.com2tag:blogger.com,1999:blog-8720084087539855728.post-38656796837657067212016-09-02T11:26:00.000-07:002016-09-02T11:26:52.719-07:00Artist's Eyes: Part II<!--[if !mso]>
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<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">In
my previous post</span>, “<a href="http://whylookatart.blogspot.com/2016/07/artists-eyes.html"><span style="color: blue; font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-bidi-font-size: 11.0pt; mso-fareast-font-family: Calibri;">Artist’s Eyes</span></a><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: Calibri;">,” </span><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">I
described how artists make pictures not from what we commonly refer to as
“reality,” but by adapting visual ideas they have experienced in the work of
other artists, the traditions of art.<span style="mso-spacerun: yes;"> </span>The
post touched a nerve.<span style="mso-spacerun: yes;"> </span>I received more
comments from more of you than any other post I have written.<span style="mso-spacerun: yes;"> </span></span></div>
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<br /></div>
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I decided the topic deserved further exploration.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoBodyText">
<br /></div>
<div class="MsoBodyText">
I will begin with Maurice Prendergast because I am looking
at his work to prepare for a course at the Barnes Foundation on Isms and
Traditions, so this is as good a place to start as any.<span style="mso-spacerun: yes;"> </span></div>
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<br /></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">In
1910, Maurice Prendergast wrote this in his journal:</span></div>
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<br /></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">“The Signs of Genius is the power of
recognizing and assimilating that which is necessary to the development of
oneself….We come into the world with nothing in our own right except the
capacity for the acquisition of Ideas.<span style="mso-spacerun: yes;"> </span>We
cannot invent Ideas, we can only gather some of those in circulation since the
beginning of the world.<span style="mso-spacerun: yes;"> </span>We endow them
with the color and form of our own time and if that color and form be of
supreme quality the work is preserved as a representation of a period in the
history of civilization….</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Genius is the power of
assimilation.<span style="mso-spacerun: yes;"> </span>Only fools think the[y]
invent.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">If the circumstances of a man’s life
admitted the acquisitions of only one set of Ideas his work would be thin….” (<i style="mso-bidi-font-style: normal;">Catalogue Raisonné</i> 1483)</span></div>
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<br /></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">In
<i style="mso-bidi-font-style: normal;">Idyl,</i> Richard Wattenmaker argues, Maurice
Prendergast “sought sources in the traditions that carried him beyond the
immediacy of Manet, the monochromatic tonalities of Whistler, and the
naturalism and spontaneity of the Impressionists to more elaborate spatial
organizations.” (<i style="mso-bidi-font-style: normal;">Maurice Prendergast, </i>p.
119)</span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Here
is the painting:</span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglpdcU0P-ZwKOZsGIBpWS7FCv3_Gh1hpiNJKx-8PqoH2zL9CrVOTl7D6-MJImkKfzG8LhukKMT5_8bBEG2j8lXx2-ES6a0vIfH7ZM3j9nI2BHjPzCU-lsKaRWQ9UXs8f7Bmi_mLAOpsFxn/s1600/Prendergast%252C+Idyl%252C+c.+1912-14%252C+Barnes.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="237" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglpdcU0P-ZwKOZsGIBpWS7FCv3_Gh1hpiNJKx-8PqoH2zL9CrVOTl7D6-MJImkKfzG8LhukKMT5_8bBEG2j8lXx2-ES6a0vIfH7ZM3j9nI2BHjPzCU-lsKaRWQ9UXs8f7Bmi_mLAOpsFxn/s320/Prendergast%252C+Idyl%252C+c.+1912-14%252C+Barnes.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;">Maurice
Prendergast, <i style="mso-bidi-font-style: normal;">Idyl, </i>c. 1912-14, Barnes</span></td></tr>
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<div align="center" class="MsoNormal" style="text-align: center;">
</div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Prendergast’s
<span style="mso-spacerun: yes;"> </span>sketchbooks show he made drawings based
on Giorgione and Titian’s <i style="mso-bidi-font-style: normal;">Le concert
champêtre, </i>Poussin’s <i style="mso-bidi-font-style: normal;">Echo and
Narcissus, </i>Pierre Puvis de Chavanne’s three compositions <i style="mso-bidi-font-style: normal;">Pastoral, Dramatic, and Epic Poetry </i>on
the north wall of the Boston Public Library, among many others.<span style="mso-spacerun: yes;"> </span>These drawings, freely copied, complement his
nude studies and figures in parks or at the seashore.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Idyl</span></i><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"> represents only
one of his multi-figure compositions for which he sought classical models without
symbolic or mythological meanings. <span style="mso-spacerun: yes;"> </span>A
series of unbroken tradition informed his expression.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">This
painting uses rhythmic repetitions of: (1) rounded, horizontal grassy mounds
echoed in the foliage and the umbrellas; (2) undulating diagonals of its
waterfall establishing the contrasting theme of curvilinear color shapes; (3)
upright bands of spaced tree trunks setting off seated, standing, nude, and
clothed figures, in back and forth positions in space.<span style="mso-spacerun: yes;"> </span>Prendergast orchestrates this within a
glowing tapestry setting.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">My
point: Prendergast assimilated the work of artists he found useful to his own
interest, and according to Wattenmaker, because he “pursued color harmonies as
musicians shift key settings,” and because “he worked and reworked his
surfaces, often over a period of years, to gain his interwoven webs of paint
and atmospheric space that are at the core of his art,” Prendergast added
something fresh and compelling to the traditions of art. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Examine
the following details and see if you agree:</span></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPQ_II7g2fEu-Hg_n_EcS-p9hm8tsLn30uQEb33xG95pXt2W-0GK6B5GD755toCAhNEScFaWwMbIalI0e0WPKmrecN4ARPTHHKt5KajB9WqrPGRsiVRqzh1FF9cYnrmdrLoqL8IhzXe-zN/s1600/Prendergast%252C+Idyl%252C+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="318" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPQ_II7g2fEu-Hg_n_EcS-p9hm8tsLn30uQEb33xG95pXt2W-0GK6B5GD755toCAhNEScFaWwMbIalI0e0WPKmrecN4ARPTHHKt5KajB9WqrPGRsiVRqzh1FF9cYnrmdrLoqL8IhzXe-zN/s320/Prendergast%252C+Idyl%252C+2.jpg" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgK4g51LFZ2P8or2qM4fB23HrMttNOcxnUuq_Pe4N2VmvkmugRAxcrr03zPAS9ntconUHNfDXkAZhgk22iXqYK5fG4FpNWAYqyq-MLU6XkMrNdVvd2ZtczcpEaLK3wNjVVviQNlGQFf7iIf/s1600/Prendergast%252C+Idyl%252C+3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgK4g51LFZ2P8or2qM4fB23HrMttNOcxnUuq_Pe4N2VmvkmugRAxcrr03zPAS9ntconUHNfDXkAZhgk22iXqYK5fG4FpNWAYqyq-MLU6XkMrNdVvd2ZtczcpEaLK3wNjVVviQNlGQFf7iIf/s320/Prendergast%252C+Idyl%252C+3.jpg" width="122" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfY_FOfbjsN0hJ5dCpt4J1GsC4u_mC67GWtu5RPKoLZcef_GFVZLUL2rZc0IRUFhNmJGF7lgUwnCDEsVZb7HhaA1blzHJ_u_SooLw90yP-Y1dbjh-p-ZtJ6rAu4JP5_nw_UaGVxleOPu43/s1600/Prendergast%252C+Idyl%252C+4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfY_FOfbjsN0hJ5dCpt4J1GsC4u_mC67GWtu5RPKoLZcef_GFVZLUL2rZc0IRUFhNmJGF7lgUwnCDEsVZb7HhaA1blzHJ_u_SooLw90yP-Y1dbjh-p-ZtJ6rAu4JP5_nw_UaGVxleOPu43/s320/Prendergast%252C+Idyl%252C+4.jpg" width="185" /></a></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<a href="http://library.artstor.org/library/secure/ViewImages?id=8DJDZyktPC49NEA7eD94R30vXXsh&source=ppt"><span style="color: windowtext; mso-no-proof: yes; text-decoration: none; text-underline: none;"><span style="mso-ignore: vglayout;"><br /></span></span></a><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"></span></div>
<div class="MsoNormal">
<a href="http://library.artstor.org/library/secure/ViewImages?id=8DJDZyktPC49NEA7eD94R30vXXsh&source=ppt"><span style="color: windowtext; mso-no-proof: yes; text-decoration: none; text-underline: none;"><span style="mso-ignore: vglayout;"></span></span></a><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"><span style="mso-tab-count: 4;"> </span> </span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Closer
to home, Eddie Loper, Jr., recently told me he sees pictures in his head and in
his dreams. But when he starts painting, the picture does not turn out the way
he “sees” it.<span style="mso-spacerun: yes;"> </span>This sounds strikingly similar to my daughter’s complaint in my previous post that her hand did not
produce what her brain was seeing.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">When
he is stuck, Eddie continued, he looks at art books for ideas.<span style="mso-spacerun: yes;"> </span>He credits attending Violette de Mazia’s
classes at the Barnes Foundation for introducing him to color, with Winslow
Homer for showing him how to draw, and N.C. Wyeth’s work (which he saw in the
Wilmington Library) for illustrating drama and power. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">He
also described how his eyesight creates challenges. <span style="mso-spacerun: yes;"> </span>His “good” eye, the left one, sees
details.<span style="mso-spacerun: yes;"> </span>His “bad” eye, his right eye,
sees swimming color shapes.<span style="mso-spacerun: yes;"> </span>When he
looks at something, he closes his left eye first to see color masses.<span style="mso-spacerun: yes;"> </span>Then he closes his right eye to look through
his left eye to see details.<span style="mso-spacerun: yes;"> </span>Even doing
that, he said, his picture still seems to have a<span style="mso-spacerun: yes;"> </span>mind of its own, and his method does not
determine he will paint anything close to what he “thinks” he sees and wants.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Here
is an example.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">First,
study the photograph of the boxing match between Mohammed Ali and George
Foreman, known as The Rumble in the Jungle, and then the painting that Eddie
made using the photograph as his subject:</span></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZekTbdg80qDfmgb_9hhRL8A_MqkVV7F3zHItFp-u7wnnAkZAJWAVdFILesOVQVfBqvuUdxuWPsttyv0KzafVN87VgHcj-JT7zmwNbUt4qcPAFjnuhA1GAzrpPYQIr1waMdr_drBfK7mgw/s1600/Eddie+Loper+Jr.+Photo+1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="257" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZekTbdg80qDfmgb_9hhRL8A_MqkVV7F3zHItFp-u7wnnAkZAJWAVdFILesOVQVfBqvuUdxuWPsttyv0KzafVN87VgHcj-JT7zmwNbUt4qcPAFjnuhA1GAzrpPYQIr1waMdr_drBfK7mgw/s320/Eddie+Loper+Jr.+Photo+1.jpg" width="320" /></a></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-no-proof: yes;"><br /></span><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvt51KinCANOB2Tnsh9dx0l93GI8YuHJgmdzRcs8dnKzb0eN6ns8Xh7bwXYfxWxObf6ulzpUuBTAYef-DZinYwKEzTfpEDN7M2GrR5Z2Ou0bXRA2xRDcO8Gg3FwJGRC-lL8XqVwtxFJhDH/s1600/Eddie+Loper+Jr.+Sting+Like+a+Bee%252C+original.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="235" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvt51KinCANOB2Tnsh9dx0l93GI8YuHJgmdzRcs8dnKzb0eN6ns8Xh7bwXYfxWxObf6ulzpUuBTAYef-DZinYwKEzTfpEDN7M2GrR5Z2Ou0bXRA2xRDcO8Gg3FwJGRC-lL8XqVwtxFJhDH/s320/Eddie+Loper+Jr.+Sting+Like+a+Bee%252C+original.jpg" width="320" /></a></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-no-proof: yes;"></span><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;">Edward L. Loper,
Jr., <i style="mso-bidi-font-style: normal;">Sting Like a Bee, </i>Oil on canvas<i style="mso-bidi-font-style: normal;">, </i>July, 2016</span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"> <span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoBodyTextIndent">
First, and most obvious, the color palette Eddie
employs has little to do with the photograph.<span style="mso-spacerun: yes;">
</span>Both the two figures as well as the background have Fauve qualities.<span style="mso-spacerun: yes;"> </span>The saturated colors and the bold strokes of
their application do not mimic the surface appearance of the bodies seen in the
photo. <span style="mso-spacerun: yes;"> </span></div>
<div class="MsoBodyTextIndent">
<br /></div>
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Let’s turn the painting upside down for
a more objective read:</span><br />
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"> </span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZGBw5IWhWXencDMjJ9V-MWP3XfxK1DcEO2Bj0UVVf7I2Qv-QfRbBWlr-8uTN1V_y80HeZpC0bUvHX2TBd1T6SL8qyj2E9wyrdYAeVJ8yTjn5-oD7pYvrXoFdmM4Pg1PJlFfMtHH-Olz82/s1600/Eddie+Loper+Jr.+Boxing+Match+inverted.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="235" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZGBw5IWhWXencDMjJ9V-MWP3XfxK1DcEO2Bj0UVVf7I2Qv-QfRbBWlr-8uTN1V_y80HeZpC0bUvHX2TBd1T6SL8qyj2E9wyrdYAeVJ8yTjn5-oD7pYvrXoFdmM4Pg1PJlFfMtHH-Olz82/s320/Eddie+Loper+Jr.+Boxing+Match+inverted.jpg" width="320" /></a></div>
<div align="center" class="MsoNormal" style="margin-left: .5in; text-align: center;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-no-proof: yes;"><br /></span><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"></span></div>
<div class="MsoBodyTextIndent">
Now on the left, a series of bright, warm, yellows,
reds, pinks, and white mostly linear color strokes pulse backwards receding
first into a concave pocket of space at the “stomach” and then further back as
the “belt” meets the “white shorts” now at the top.<span style="mso-spacerun: yes;"> </span>This is the long way of saying the “body”
recedes from the “head” to the “shorts.”<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoBodyTextIndent">
<br /></div>
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Now on the right, ochres and reds
predominate, setting the now smaller and lower “head,” “forearm,” and “body” back
in space and ballooning forward the two red halves of the “shorts” divided by
the white stripe in their center.<span style="mso-spacerun: yes;"> </span>Again,
the long way of saying the smaller “head” sinks back in space while the upper
“arm” bulges forward as do the “shorts.” </span><br />
<br />
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"></span><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">The “arms” become a twisted array of
left and right movements across the center of the painting.<span style="mso-spacerun: yes;"> </span>However, the literally “striking” push of the
central “arm” projected into the foreground plane, sets the theme.</span><br />
<br />
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"></span><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Examine that "arm:"</span><br />
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"> </span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnXq1N2_2qZ10fQu-pwOIti_TbMH3hEKa5cuXujrtnrS-7NWwwNriqF-8rSdeR3pgxPSSYGNilnjwM-KGnnIw_Fn4yZ1WXkvrs9IeiWOIM3txLUP1Hu2jTEdCr1zMChxVBcEP_S7nsAbJe/s1600/Eddie+Loper+Jr.+Boxing+Match.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="207" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnXq1N2_2qZ10fQu-pwOIti_TbMH3hEKa5cuXujrtnrS-7NWwwNriqF-8rSdeR3pgxPSSYGNilnjwM-KGnnIw_Fn4yZ1WXkvrs9IeiWOIM3txLUP1Hu2jTEdCr1zMChxVBcEP_S7nsAbJe/s320/Eddie+Loper+Jr.+Boxing+Match.jpg" width="320" /></a></div>
<div align="center" class="MsoNormal" style="margin-left: .5in; text-align: center;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-no-proof: yes;"><br /></span><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"></span></div>
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">This detail illustrates the short,
energetic brush strokes, the luminous bang of color, the linear outlines
compartmentalizing the bulging, massive color volumes, and the “motion” of that
outstretched “punch,” a strong punch, full of aesthetic meaning: <span style="mso-spacerun: yes;"> </span>powerful, dramatic, and visceral.<span style="mso-spacerun: yes;"> </span></span><div class="MsoNormal" style="margin-left: .5in;">
<br /></div>
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">I’ve been reading an interesting book
recommended by my ophthalmologist, <i style="mso-bidi-font-style: normal;">The
Artist’s Eyes; Vision and the History of Art, </i>written by two
ophthalmologists, Michael F. Marmor and James G. Ravin.<span style="mso-spacerun: yes;"> </span>In it, they begin with the eyes, where the
process of seeing originates, and go on to investigate how the biology of sight
has inspired and confounded the world’s most famous artists.</span><br />
<br />
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"></span><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">What I admire about this book is how
humble both writers are in the presence of genius.<span style="mso-spacerun: yes;"> </span>Of Matisse they write, “His devotion to color
and form, independent of subject, led him intuitively to use physiological
principles of color perception in new and unusual ways.<span style="mso-spacerun: yes;"> </span>Understanding these principles gives us
insight into some of his visual effects, and into the rationale for some of his
color choices.<span style="mso-spacerun: yes;"> </span>But it cannot explain
why the specific combination of subject, form, and color in his paintings are
so uniquely effective and compelling to us in the twenty-first century.<span style="mso-spacerun: yes;"> </span>This is where art transcends science—and
where we must acknowledge the hand of a master.” (p. 81)</span><br />
<br />
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"></span><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Or, as Dr. Barnes said a long time ago,
“We perceive only what we have learned to look for, both in life and in
art.<span style="mso-spacerun: yes;"> </span>The artist, whether in paint,
words, or musical tones, has embodied an experience in his work, and to
appreciate his painting or poem or symphony, we must reconstruct his
experience, so far as we are able, in ourselves.” (<i style="mso-bidi-font-style: normal;">The Art in Painting, </i>pp.6-7).</span><br />
<br />
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"></span><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">This has less to do with eyesight and
its limits and challenges, and more to do with perception, a whole other
entity.<span style="mso-spacerun: yes;"> </span>As Harry Sefarbi wrote, “You
must investigate the traditions, and sharpen your perception.<span style="mso-spacerun: yes;"> </span>Or you can’t play.” (<i style="mso-bidi-font-style: normal;">The Clue to Klee, </i>The Barnes Foundation Journal of the Art
Department, Spring, 1972, p. 42.)</span>
<br />
<div class="MsoNormal">
<br /></div>
Marilyn Baumanhttp://www.blogger.com/profile/09221864675491721708noreply@blogger.com0tag:blogger.com,1999:blog-8720084087539855728.post-41193034105749176402016-07-31T06:36:00.000-07:002016-07-31T16:59:04.935-07:00Artist's Eyes<!--[if !mso]>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Degas said, “one sees as one wishes to see.”<span style="mso-spacerun: yes;"> </span></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">I thought of this today because my daughter visited
me this past week, and we worked together in my studio as we had a few weeks
ago.</span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">This time she sat right next to me, and we uttered a
running series of complaints, not really to each other, but just for their own
sake: “I don’t like this,” she muttered, “this is not coming out the way I see
it.”<span style="mso-spacerun: yes;"> </span>“I ruined Sophia’s face,” I said,
“it’s no longer her.”<span style="mso-spacerun: yes;"> </span></span></div>
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<br /></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">That sort of thing.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Once we stopped working, my daughter said something
I found intriguing: “why doesn’t my hand do what my eyes are seeing?”<span style="mso-spacerun: yes;"> </span></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Bewildered, I asked her to explain what she meant.</span></div>
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<br /></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">She told me she had in her head exactly what she
wanted to put on the paper with the colored pencils she was using, an orchid that
her dad happily got to bloom.<span style="mso-spacerun: yes;"> </span>She saw
clearly how she would make her picture using it as her subject.<span style="mso-spacerun: yes;"> </span>But she felt as if her hand had a mind of its
own, and her hand did not do what she saw at all.<span style="mso-spacerun: yes;"> </span></span></div>
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<br /></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Now this sounds weird, doesn’t it?</span></div>
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<br /></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">In my case, since I learned to see color 45 years
ago via a series of difficult and painful lessons taught by my mentor Edward L.
Loper, Sr., I subject any subject to careful scrutiny and feel like I am
“copying” exactly what is in front of me.<span style="mso-spacerun: yes;">
</span>It is only when the painting is finished I can see what I really did,
how many changes I made in the subject, and why.<span style="mso-spacerun: yes;"> </span>But I have never felt that what I was doing
had no connection to what I was seeing.</span></div>
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<br /></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">First, look at a photo of my daughter’s sunflower
subject and then at her colored pencil picture:</span></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfgPg-Q9xor2Oomd_MX95ntf4d-xuueJKHrWGeLO_1-O_2xxlQa23OD9mxSJmzt6f2i-I9SehV64atKlIre2P6TlsOJeXjkea7s4295Yit2QKGFJR5aTBbENRE4-hu8Of-O7nmA9NtP7nH/s1600/Alisa+sunflowers+photo.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="183" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfgPg-Q9xor2Oomd_MX95ntf4d-xuueJKHrWGeLO_1-O_2xxlQa23OD9mxSJmzt6f2i-I9SehV64atKlIre2P6TlsOJeXjkea7s4295Yit2QKGFJR5aTBbENRE4-hu8Of-O7nmA9NtP7nH/s320/Alisa+sunflowers+photo.jpg" width="320" /></a></div>
<br />
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<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPfVsHHj4DRVhfE_DQcYBkJ9w24Zlqs4MeqzYWJILJ_YYzK9KkjTJ099adArXA8jk4pWtUh4J67HSgjRfHYCWZArsUSgWOfBhUqgyGSWsa7wA0Gp4K6aCanFGsxWf1ELhujXxuaNyJzsNe/s1600/Alisa+sunflowers+picture.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="250" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPfVsHHj4DRVhfE_DQcYBkJ9w24Zlqs4MeqzYWJILJ_YYzK9KkjTJ099adArXA8jk4pWtUh4J67HSgjRfHYCWZArsUSgWOfBhUqgyGSWsa7wA0Gp4K6aCanFGsxWf1ELhujXxuaNyJzsNe/s320/Alisa+sunflowers+picture.jpg" width="320" /></a></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><br /></span><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><br /></span><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"></span></div>
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When I first looked at what she had made, I told her that
her picture had more color than van Gogh’s sunflower pictures.<span style="mso-spacerun: yes;"> </span>She did not believe me, so I showed her every
van Gogh picture with sunflowers as the subject, and she finally agreed. </div>
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<br /></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Here is one of the most colorful van Gogh paintings
using sunflowers:</span></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibJqiFmNIpAK9tJyZgX3otPRa1pmiGHp5VWvtGFiv7z98aCf4LaxpORctAVWMAG6EyiJqzCa6d2iMM2rjTVMv7DzURTG1wWDJoGl8pyK0kJbQPIWEvR5fgLtRIUPwxqJywZxLUscF3zog9/s1600/Van+Gogh%252C+Sunflowers%252C+1887%252C+Rijksmuseum.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="199" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibJqiFmNIpAK9tJyZgX3otPRa1pmiGHp5VWvtGFiv7z98aCf4LaxpORctAVWMAG6EyiJqzCa6d2iMM2rjTVMv7DzURTG1wWDJoGl8pyK0kJbQPIWEvR5fgLtRIUPwxqJywZxLUscF3zog9/s320/Van+Gogh%252C+Sunflowers%252C+1887%252C+Rijksmuseum.jpg" width="320" /></a></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><br /></span><i style="mso-bidi-font-style: normal;"><span style="font-family: "times new roman" , "serif"; font-size: 10.0pt; line-height: 115%;"></span></i></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: "times new roman" , "serif"; font-size: 10.0pt; line-height: 115%;">Sunflowers,
</span></i><span style="font-family: "times new roman" , "serif"; font-size: 10.0pt; line-height: 115%;">1887,
Rijksmuseum</span></div>
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<br /></div>
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Here are the photos of my daughter’s orchid subject and
her picture:</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRDsrgPRQE3kxzVci1lm_01KcKu4fPj0O3nFDsNj75bWYWKE5oo1SrmeAplB1FMAolHT7aIicqn58MM-5w63x-5Jl57Wl7lUkBAoV8Irj_02_LkzC9d7qTcQrlYa5if4UI70XQ1tK1AGcY/s1600/Alisa+orchids+photo.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRDsrgPRQE3kxzVci1lm_01KcKu4fPj0O3nFDsNj75bWYWKE5oo1SrmeAplB1FMAolHT7aIicqn58MM-5w63x-5Jl57Wl7lUkBAoV8Irj_02_LkzC9d7qTcQrlYa5if4UI70XQ1tK1AGcY/s320/Alisa+orchids+photo.jpg" width="211" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSRyS6Yf9iH1A_RWk88NRj_iqxdVwloec7ohvI_mnmQz-p6K_GB5rjtQQGLaqchTSiALuxTPZ1bgTDRIT7tT5P_Xqint2boXaH7TMa6Wc3YIf5GCSM97XU8SY5Vfz7nlN9InQ3FfQuqKYg/s1600/Alisa+orchids+picture.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSRyS6Yf9iH1A_RWk88NRj_iqxdVwloec7ohvI_mnmQz-p6K_GB5rjtQQGLaqchTSiALuxTPZ1bgTDRIT7tT5P_Xqint2boXaH7TMa6Wc3YIf5GCSM97XU8SY5Vfz7nlN9InQ3FfQuqKYg/s320/Alisa+orchids+picture.jpg" width="250" /></a></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><br /></span><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><br /></span><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"></span></div>
<div class="MsoNormal">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">She knew she had moved the “leaves” from the right
to the left to balance her drawing.<span style="mso-spacerun: yes;"> </span>What
she complained about was that she had in her head a simple, light-dark
rendition of the orchids, something like Georgia O’Keeffe’s <i style="mso-bidi-font-style: normal;">An Orchid, </i>at MoMA, or Matisse’s <i style="mso-bidi-font-style: normal;">Flower Piece, </i>at the Barnes Foundation,
with its vivid, rich dramatic color.</span></div>
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<br /></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Here they are:</span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5Omp1YMPcXX_GuPBT6bFl69Yul9kc4wOhi-XfMQhD82iHRU3x2AqgqZ090eGa-s2CmYwYQnzYJL0k2qCwCVspJPtAbKpicgZbpXul8fgp002iTghIFpfYrw5lkXjGsOUnEWo0ZCfkqW0M/s1600/Georgia+O%2527Keeffe%252C+An+Orchid%252C+1941%252C+Pastel+on+paper+mounted+on+board%252C+MoMA.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5Omp1YMPcXX_GuPBT6bFl69Yul9kc4wOhi-XfMQhD82iHRU3x2AqgqZ090eGa-s2CmYwYQnzYJL0k2qCwCVspJPtAbKpicgZbpXul8fgp002iTghIFpfYrw5lkXjGsOUnEWo0ZCfkqW0M/s320/Georgia+O%2527Keeffe%252C+An+Orchid%252C+1941%252C+Pastel+on+paper+mounted+on+board%252C+MoMA.jpg" width="250" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-family: "times new roman" , "serif"; font-size: 10.0pt; line-height: 115%;"><span style="mso-spacerun: yes;"> </span>O’Keeffe, <i style="mso-bidi-font-style: normal;">An
Orchid, </i>1941, Pastel on paper mounted on board, MoMA</span></div>
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<br /></div>
</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFHN5-djcXu2F8fxGFebIjsJ-Zyh0WxChNJxfXPX4N5KaZF_qM9V0vbdBY2Wofpj0i1aWL5nzo3aGiCJvMWkWOAuu9IpXmLat6x399o1vfm2jvUwJK3DU_479_IL4Nmtl1DCeZfGdR0fLL/s1600/Matisse%252C+Flower+Piece%252C+1906-07%252C+Barnes+2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFHN5-djcXu2F8fxGFebIjsJ-Zyh0WxChNJxfXPX4N5KaZF_qM9V0vbdBY2Wofpj0i1aWL5nzo3aGiCJvMWkWOAuu9IpXmLat6x399o1vfm2jvUwJK3DU_479_IL4Nmtl1DCeZfGdR0fLL/s320/Matisse%252C+Flower+Piece%252C+1906-07%252C+Barnes+2.jpg" width="265" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "times new roman" , "serif"; font-size: 10.0pt; line-height: 115%;">Matisse,
<i style="mso-bidi-font-style: normal;">Flower Piece, </i>1906-07, Oil on canvas,
Barnes</span></td></tr>
</tbody></table>
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<span style="font-family: "times new roman" , "serif"; font-size: 10.0pt; line-height: 115%;"><br /></span></div>
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Why, she wanted to know, did my hands keep making those
vivid colored lines when I wanted to be making smooth, soft, purples and whites
for the flowers and light and dark large green areas of color for the
leaves?<span style="mso-spacerun: yes;"> </span></div>
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<br /></div>
<div class="MsoBodyText">
Why indeed?</div>
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<br /></div>
<div class="MsoBodyText">
We speculated it might have something to do with growing
up as my child and learning to draw and paint before she was 2 years old and
being “dragged” (her word) to museums and art shows all the time.<span style="mso-spacerun: yes;"> </span>In fact, when she was a teenager, she told me
that my taking her to all those museums was a form of child abuse.<span style="mso-spacerun: yes;"> </span>Still, she applied for, and was accepted into,
Violette de Mazia’s course at the Barnes Foundation when she was a senior in
high school.<span style="mso-spacerun: yes;"> </span>Her high school granted her
an early dismissal on Tuesdays, and she drove herself from Wilmington to Merion
and back through rain and snow to attend the 1–4 pm class.</div>
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My theory is that all the work she saw at the Barnes
Foundation, and in all the museums I dragged her to, are stored in her brain
along with how to look for color that I was learning from Ed Loper and teaching
to her and to all her friends who attended my classes.<span style="mso-spacerun: yes;"> </span>When she works now, no matter what she thinks
she wants to do, something else takes over and that something else we call the
traditions of art.<span style="mso-spacerun: yes;"> </span></div>
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<br /></div>
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For example, here is a Vlaminck painting which illustrates
the kind of vivid, saturated, powerful color bands she used in her pictures:</div>
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<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYYgbWGeF18yT6Q3qA9eySR5SfuA2g2u1tWlmntUsrc4VidRF1ObWCSFxL8l7oXtyKyJIcJGcMMM-hv2IOBKjcPCFmQbkXSJjZxryiS2NQkdn2fsevwq8YtfpWM-R_nd_cumMk50T7p3cM/s1600/Vlaminck%252C+Houses+at+Chatou%252C+1905-06%252C+Oil+on+canvas%252C+Chicago%252C+The+Art+Institute.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYYgbWGeF18yT6Q3qA9eySR5SfuA2g2u1tWlmntUsrc4VidRF1ObWCSFxL8l7oXtyKyJIcJGcMMM-hv2IOBKjcPCFmQbkXSJjZxryiS2NQkdn2fsevwq8YtfpWM-R_nd_cumMk50T7p3cM/s320/Vlaminck%252C+Houses+at+Chatou%252C+1905-06%252C+Oil+on+canvas%252C+Chicago%252C+The+Art+Institute.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: 10.0pt; line-height: 115%;">Vlaminck, <i style="mso-bidi-font-style: normal;">Houses at Chatou, </i>1905-06, Oil on canvas, Chicago, The Art
Institute</span></td></tr>
</tbody></table>
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<span style="mso-no-proof: yes;"><br /></span></div>
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<span style="font-size: 10.0pt; line-height: 115%;"></span></div>
<div class="MsoBodyText">
A celebration of instinct better explains my daughter’s
odd brain/hand conflict.<span style="mso-spacerun: yes;"> </span>Her hand knows
something important, as Maurice Denis declared in 1890: “Remember that a
painting before becoming a favorite theme, a nude or a specific anecdote, is
just a flat surface covered with colors assembled in a certain order.”<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoBodyText">
<br /></div>
<div class="MsoBodyText">
Looks like I am arguing that the brain/hand disconnect is
not so unusual after all.<span style="mso-spacerun: yes;"> </span>The writer
E.L. Doctorow said, “One of the things I had to learn as a writer was to trust
the act of writing. To put myself in the position of writing to find out what I
was writing…. The inventions of the book come as discoveries. At a certain
point, of course, you figure out what your premises are and what you’re doing.
But certainly, with the beginnings of the work, you really don’t know what’s
going to happen.”<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoBodyText">
<br /></div>
<div class="MsoBodyText">
Trusting in the act of creating art is what we do when we
turn off the noise in our mind and let our interest, training, and knowledge of
what other artists have shown us is possible guide us through the process.<span style="mso-spacerun: yes;"> </span>At the end, then, even the maker of the work is
surprised.<span style="mso-spacerun: yes;"> </span></div>
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Marilyn Baumanhttp://www.blogger.com/profile/09221864675491721708noreply@blogger.com4tag:blogger.com,1999:blog-8720084087539855728.post-70465744226836537882016-03-20T08:49:00.000-07:002016-07-05T17:32:35.323-07:00What's in a Face?<!--[if !mso]>
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<div class="MsoNormal">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">In <i style="mso-bidi-font-style: normal;">The Art in
Painting,</i> Dr. Barnes wrote this about portraiture<i style="mso-bidi-font-style: normal;">:</i> “In Portrait-Painting, an artist is much more rigidly limited
than in such fields as landscape or dramatic figure-composition, and he is
compelled to get his effects with a minimum of means; consequently, his ability
to use these means is severely tested.<span style="mso-spacerun: yes;">
</span>His problems are: to<span style="mso-spacerun: yes;"> </span>make the
figure seem to live, to distinguish it clearly from the background, and to unify
figure and background in a design which is itself esthetically moving, apart
from physical resemblance to the sitter.” (p. 270)</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Now, in 2016, almost 100 years since the 1925
publication of Dr. Barnes’ book, his definition seems antiquated. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">On March 17, <i style="mso-bidi-font-style: normal;">The
New York Times </i>featured </span><a href="http://www.nytimes.com/2016/03/17/arts/design/nationwide-a-roster-of-intriguing-art-exhibitions.html?_r=0"><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">“A
Nationwide Guide to Art Exhibitions This Spring”</span></a><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">
<span style="mso-spacerun: yes;"> </span>by Judith </span><span style="font-family: "times new roman" , "serif";">H. </span><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Dobrzynski. One entry caught my
eye:<span style="mso-spacerun: yes;"> </span><i>This Is a Portrait If I Say So: Identity
in American Art, 1912 to Today,</i><span style="mso-bidi-font-style: italic;"> June
25, 2016 - October 23, 2016, at the </span></span><a href="http://www.bowdoin.edu/art-museum/exhibitions/2016/this-is-a-portrait.shtml"><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Bowdoin College Museum of Art</span></a><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">The exhibit, “</span><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">the
first exhibition to address the breadth and significance of the phenomenon of
non-mimetic portraits in American art,” is said to pose “provocative questions
about the very nature of likeness and personal identity.”</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">“This is a portrait if I say so,” I wanted to scream,
is like saying “the earth is flat if I say so.”<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">I had to take a deep deep breath.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">You may remember my blog post </span><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">of June 30, 2011 </span><a href="http://whylookatart.blogspot.com/2011/06/comb-in-museum.html"><span style="color: blue; font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">The Comb
in the Museum</span></a><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">.<span style="mso-spacerun: yes;"> </span>I did not want to repeat
either the points I made in that post or the fierce debate my post engendered in
the class I was teaching at the time.<span style="mso-spacerun: yes;"> </span>I
am older now, and I meditate to elude reactivity.<span style="mso-spacerun: yes;"> </span>I did not feel up to arguing the same points
again.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoBodyText">
Finally, after I calmed down, I decided I did not need to
be so upset.<span style="mso-spacerun: yes;"> </span>Declaring something a “portrait”
is not the same as declaring something a work of art.<span style="mso-spacerun: yes;"> </span>Dr. Barnes admitted that Goya was the last
great portrait painter.<span style="mso-spacerun: yes;"> </span>After him, he
argued, “portrait-painting” became “an aspect of the new traditions, and [presented]
no special or distinctive forms.” (p. 277) </div>
<div class="MsoBodyText">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">For example, Marsden Hartley’s 1914 painting, <i style="mso-bidi-font-style: normal;">Portrait of a German Officer, </i>with its rugged brushwork and
dramatic color, exemplifies Hartley’s assimilation of both Cubism and German
Expressionism.<span style="mso-spacerun: yes;"> </span>Assuming you read the
title, t</span><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">he
condensed mass of images (badges, flags, medals) evokes a “portrait” of the
officer.<span style="mso-spacerun: yes;"> </span>There are also specific
references to Hartley’s close friend Karl von Freyburg, a young cavalry officer
who had been killed in action: K.v.F. are his initials, 4 was his regiment
number, and 24 his age.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Here is the painting:</span></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNpOqkrFt4dguRit74o20doO5Eorwx9zigqgKOL-3GAC2dS_j1FUeNdzTHD-7vUY8nj0lJtgSHYeX5cmLlYWPE1-bne7YqoxgeBt6iz2Z9DmmWjEhwLDkuublfo8vvZ0MmHzlhhHt-QtdG/s1600/Hartley%252C+Portrait+of+a+German+Officer%252C+1914%252C+Met.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNpOqkrFt4dguRit74o20doO5Eorwx9zigqgKOL-3GAC2dS_j1FUeNdzTHD-7vUY8nj0lJtgSHYeX5cmLlYWPE1-bne7YqoxgeBt6iz2Z9DmmWjEhwLDkuublfo8vvZ0MmHzlhhHt-QtdG/s400/Hartley%252C+Portrait+of+a+German+Officer%252C+1914%252C+Met.jpg" width="242" /></a></div>
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<span style="mso-no-proof: yes;"></span><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-family: "times new roman" , "serif"; font-size: 10.0pt; line-height: 115%;">Hartley, <i>Portrait of a German Officer</i>,
1914, Met</span></div>
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<br /></div>
<div class="MsoBodyText">
<span style="line-height: 115%; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;">That said, we
read the painting by applying the tools we have mastered: we see an
orchestration of close-knit curvilinear and rectilinear patterns, light/dark
contrasts of vivid reds and golds dramatically contrasted by black, and highly
decorative bands, diamonds, squares, crosses, and circles.<span style="mso-spacerun: yes;"> </span>The color units swirl, curl, and overlap while
suspended in a black background of indeterminate space.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoBodyText">
<br /></div>
<div class="MsoBodyText">
<span style="line-height: 115%; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;">Robert</span>
Rauschenberg, in<span style="line-height: 115%; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"> 1961, sent
his “portrait” of Iris Clert</span> as a telegram.<span style="mso-spacerun: yes;"> </span>It states, “This is a portrait of Iris Clert
if I say so.”</div>
<div class="MsoBodyText">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvlTRkU_jXj33P9z0rHJXiiBj5jhLXTlQ0T7698hvWxP6E6Axac7VSIBugOcP8ySOUQFYDDFsbxrx8GgYHMingRjYf9fUjXx4_SCQ552A7XvsEreG5pQn-14Y7zYBc4kD8klIodqo9thjV/s1600/Rauschenberg%252C+This+is+a+Portrait+of+Iris+Clert+If+I+Say+So%252C+1961%252C+ink+on+paper+with+two+paper+envelopes%252C+The+Ahrenberg+Collection%252C+Switzerland.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvlTRkU_jXj33P9z0rHJXiiBj5jhLXTlQ0T7698hvWxP6E6Axac7VSIBugOcP8ySOUQFYDDFsbxrx8GgYHMingRjYf9fUjXx4_SCQ552A7XvsEreG5pQn-14Y7zYBc4kD8klIodqo9thjV/s400/Rauschenberg%252C+This+is+a+Portrait+of+Iris+Clert+If+I+Say+So%252C+1961%252C+ink+on+paper+with+two+paper+envelopes%252C+The+Ahrenberg+Collection%252C+Switzerland.jpg" width="286" /></a></div>
<div align="center" class="MsoBodyText" style="text-align: center;">
<span style="line-height: 115%; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin; mso-no-proof: yes;"></span><span style="line-height: 115%; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"></span></div>
<div align="center" class="MsoBodyText" style="text-align: center;">
<span style="font-size: 10.0pt; line-height: 115%; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-spacerun: yes;"> </span><i>This
Is a Portrait of Iris Clert If I Say So</i>, 1961, Ink on paper with two paper
envelopes, 17 1/2 x 13 5/8 inches (44.5 x 34.6 cm). The Ahrenberg Collection,
Switzerland.</span></div>
<div align="center" class="MsoBodyText" style="text-align: center;">
<br /></div>
<div class="MsoBodyText">
<span style="line-height: 115%; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;">If you see art
in this “portrait” or if it moves you aesthetically, please let me know.<span style="mso-spacerun: yes;"> </span>I could describe its visual impact in a few words,
but art is not one of them.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoBodyText">
<br /></div>
<div class="MsoBodyText">
<span style="line-height: 115%; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;">The next
image is a portrait by Eddie Loper Jr. using my husband as his subject.<span style="mso-spacerun: yes;"> </span>If all I said about this painting was “this
is a work of art because I say so,” you would be reading a very short post.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoBodyText">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgv6CE3D2hKtdMNwaPDajmbu1j9klk5pp5TPKmRhxE4Dx87BreCwefnQ1W72qe4qlWf7LrJZM05CeUAomLSdfeQn4xg3owexcPpPKpKknnXDg4jR0Cq9mbK3vQ8uouu8VgK3eXb-v802RX5/s1600/Eddie+Loper+Jr%252C+Portrait+of+Don%252C+1916.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgv6CE3D2hKtdMNwaPDajmbu1j9klk5pp5TPKmRhxE4Dx87BreCwefnQ1W72qe4qlWf7LrJZM05CeUAomLSdfeQn4xg3owexcPpPKpKknnXDg4jR0Cq9mbK3vQ8uouu8VgK3eXb-v802RX5/s400/Eddie+Loper+Jr%252C+Portrait+of+Don%252C+1916.jpg" width="318" /></a></div>
<div align="center" class="MsoBodyText" style="text-align: center;">
<span style="line-height: 115%; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin; mso-no-proof: yes;"></span><span style="line-height: 115%; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"></span></div>
<div align="center" class="MsoBodyText" style="text-align: center;">
<span style="font-size: 10.0pt; line-height: 115%; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;">Loper, Jr., <i style="mso-bidi-font-style: normal;">Laughing Man, </i>Oil on canvas, 2016</span></div>
<div class="MsoBodyText">
<span style="line-height: 115%; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;">I will say
this instead.</span></div>
<div class="MsoBodyText">
<br /></div>
<div class="MsoBodyText">
<span style="line-height: 115%; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;">I titled
the painting <i style="mso-bidi-font-style: normal;">Laughing Man </i>because, as
soon as I saw it, I connected it with two paintings by Franz Hals: <i style="mso-bidi-font-style: normal;">Laughing Boy </i>and <i style="mso-bidi-font-style: normal;">Laughing Boy with a Flute.</i></span></div>
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<tr><td class="tr-caption" style="text-align: center;"><i>Laughing Boy with a Flute, </i><br />
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<span style="font-size: 10.0pt; line-height: 115%; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><i style="mso-bidi-font-style: normal;"> </i></span><br />
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<span style="line-height: 115%; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;">In Hals’
paintings, the “smiles” either delight or annoy, depending on your
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<span style="line-height: 115%; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;">For
example, examine the following Appel painting <i style="mso-bidi-font-style: normal;">Portrait of Willem Sandberg:</i></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOsmFDf5DDZ6a2VJ31ari67SQYP2OSwMoV5HOm-IJEczqDdUA5dFtZY8nEyLb-RgirZxZixCYpz0b7Uq-Wu6ZO_YyNB7-1ZvTlPUeyyGEJZnyrZ8v21OmTEiAZWCc9m7e6W-v9wNQK2C2p/s1600/Karel+Appel%252C+Portrait+of+Willem+Sandberg%252C+1956%252C+Karel+Appel+Foundation.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOsmFDf5DDZ6a2VJ31ari67SQYP2OSwMoV5HOm-IJEczqDdUA5dFtZY8nEyLb-RgirZxZixCYpz0b7Uq-Wu6ZO_YyNB7-1ZvTlPUeyyGEJZnyrZ8v21OmTEiAZWCc9m7e6W-v9wNQK2C2p/s400/Karel+Appel%252C+Portrait+of+Willem+Sandberg%252C+1956%252C+Karel+Appel+Foundation.jpg" width="260" /></a></div>
<div align="center" class="MsoBodyText" style="text-align: center;">
<span style="line-height: 115%; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin; mso-no-proof: yes;"></span><span style="line-height: 115%; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"></span></div>
<div align="center" class="MsoBodyText" style="text-align: center;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 10.0pt; line-height: 115%; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;">Portrait
of Willem Sandberg, </span></i><span style="font-size: 10.0pt; line-height: 115%; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;">1956, Karel
Appel Foundation</span></div>
<div align="center" class="MsoBodyText" style="text-align: center;">
<br /></div>
<div class="MsoBodyText">
<span style="line-height: 115%; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;">The bright ruggedly
applied colors of Appel’s portrait combined with its facial distortions make
Eddie Jr’s painting look chalky and mainstream. </span></div>
<div class="MsoBodyText">
<br /></div>
<div class="MsoBodyText">
<span style="line-height: 115%; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;">Appel’s
portrait moves the needle away from portrait painting revealing psychological insight
and towards an imaginative creation of personal fantasy.<span style="mso-spacerun: yes;"> </span>Appel said, “My paint tube is like a rocket
which describes its own space.<span style="mso-spacerun: yes;"> </span>I try to
make the impossible possible.<span style="mso-spacerun: yes;"> </span>What is
happening I cannot foresee; it is a surprise.<span style="mso-spacerun: yes;">
</span>Painting, like passion, is an emotion full of truth and rings with a
living sound, like the roar coming from the lion’s breast.” (Quoted by Hugo
Claus, <i style="mso-bidi-font-style: normal;">Karel Appel, New York, </i>1962).</span></div>
<div class="MsoBodyText">
<br /></div>
<div class="MsoBodyText">
<span style="line-height: 115%; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;">On the
other hand, Eddie Jr., like Soutine, uses solid, variegated color laid on
heavily with pulled dynamic, powerful strokes. <span style="mso-spacerun: yes;"> </span>Like Soutine, the animation and motion are
heightened by the variety and direction in which the color-strokes run. His
color-palette in <i style="mso-bidi-font-style: normal;">Laughing Man </i>is
closer to Soutine’s <i style="mso-bidi-font-style: normal;">The Pastry Chef </i>in
the Barnes Foundation<i style="mso-bidi-font-style: normal;">:</i></span></div>
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<br /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-8b52zAquxhdzWqxfRXs_2W1BBrvpNJU71BRzVtmL8-SCg8vq7B7HE5pKbMvXOyDZylbMs7i-grTPMEQW8MIiZMXR8Te2beyA3FGh_Z0bDlymbMbAfJE-Xc7w-s-RN5lIS-FIEs4L2tRH/s1600/Soutine%252C+The+Pastry+Chef%252C+c.+1919%252C+Barnes%252C+BF442.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-8b52zAquxhdzWqxfRXs_2W1BBrvpNJU71BRzVtmL8-SCg8vq7B7HE5pKbMvXOyDZylbMs7i-grTPMEQW8MIiZMXR8Te2beyA3FGh_Z0bDlymbMbAfJE-Xc7w-s-RN5lIS-FIEs4L2tRH/s400/Soutine%252C+The+Pastry+Chef%252C+c.+1919%252C+Barnes%252C+BF442.jpg" width="305" /></a></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh06W2_spL6YHE3yn2-ux4snEtES0AmZzFH2_OvXwBTy2DnrnMdbM7XDPNTx8Wo-3Vo94EcUWCHdH2FO46zlswFV_L9eLrTMfcgS1XC0mJlxYxAiOxG4zxF2XafiibVexaH9GoCm0D153JU/s1600/Soutine%252C+Baker+Boy%252C+Barnes.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh06W2_spL6YHE3yn2-ux4snEtES0AmZzFH2_OvXwBTy2DnrnMdbM7XDPNTx8Wo-3Vo94EcUWCHdH2FO46zlswFV_L9eLrTMfcgS1XC0mJlxYxAiOxG4zxF2XafiibVexaH9GoCm0D153JU/s320/Soutine%252C+Baker+Boy%252C+Barnes.jpg" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: 10.0pt; line-height: 115%; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;">Soutine, <i style="mso-bidi-font-style: normal;">The Pastry Chef, </i>c. 1919, Barnes</span></td></tr>
</tbody></table>
<div class="MsoBodyText">
<span style="line-height: 115%; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin; mso-no-proof: yes;"></span><span style="font-size: 10.0pt; line-height: 115%; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-tab-count: 1;"> </span></span></div>
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<span style="line-height: 115%; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;">Upside
down, angularity predominates over circularity in Eddie’s portrait:</span></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7-TRWeUKN_qA11UIXAOWRKR6sny8ogjBv1TOcdEfbBowyHAQqeXFa5wASBzBCCTEdk1y9AwHAVBxmLvq4nvES9xyrSLjVe2CDj460Wo5Q3-h2UkPzt5FHRuMGrRC38SoIkG0b9pZG9cOu/s1600/Eddie+Loper+Jr.+Laughing+Man%252C+inverted+%25282%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7-TRWeUKN_qA11UIXAOWRKR6sny8ogjBv1TOcdEfbBowyHAQqeXFa5wASBzBCCTEdk1y9AwHAVBxmLvq4nvES9xyrSLjVe2CDj460Wo5Q3-h2UkPzt5FHRuMGrRC38SoIkG0b9pZG9cOu/s400/Eddie+Loper+Jr.+Laughing+Man%252C+inverted+%25282%2529.jpg" width="318" /></a></div>
<div align="center" class="MsoBodyText" style="text-align: center;">
<span style="line-height: 115%; mso-bidi-font-size: 12.0pt; mso-no-proof: yes;"><br /></span><span style="line-height: 115%; mso-bidi-font-size: 12.0pt;"></span></div>
<div class="MsoBodyText">
<span style="line-height: 115%; mso-bidi-font-size: 12.0pt;">The
“neck” pierces the chest like a dagger; the ovoid head bulges forward
surrounded by a blackish/blue outline that pushes the horseshoe mound of “hair"
back in space.<span style="mso-spacerun: yes;"> </span>The “cheeks” adhere to
the face like two slices of pizza.<span style="mso-spacerun: yes;"> </span>With
a nod to African sculpture, the almond-shaped “eyes” sink slightly behind the
“cheeks” and “forehead” at the same time as they squint into a blackened
horizontal band.<span style="mso-spacerun: yes;"> </span>The shortened “nose”
projects forward over the upper “lip” at the same time as it recedes backward
between the “eyes.”<span style="mso-spacerun: yes;"> </span>The “mouth” is
encircled by an upper and lower dome-shaped projection that sets back the
repeating tile-like pink and blue “teeth.”<span style="mso-spacerun: yes;"> </span></span></div>
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<span style="line-height: 115%; mso-bidi-font-size: 12.0pt;"><span style="mso-spacerun: yes;">
</span></span></div>
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<span style="line-height: 115%; mso-bidi-font-size: 12.0pt;">Upside
down, the entire section of “upper lip,” “mouth,” and “chin," a series of
repeating curves and in-and-out projections, exhibit a variegated color
profusion of hot pinks, deep reds, icy blues, and luminous lavenders.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoBodyText">
<br /></div>
<div class="MsoBodyText">
<span style="line-height: 115%; mso-bidi-font-size: 12.0pt;">Right
side up, the entire “head” looms forward as the “neck” and flattened slant of
the upper body recedes backward in space.</span></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjosFy09k-VJPVp-YdnkHArHl3WOwspjHuBG44LDVVEfCm-y43tfS9yiMvnyPebgBgAFsvl7EWjVvSYWsmH3zrjrtI52IwnQ32PXxAlAXERMOjmNTP-cV6jmSS0VzGOkLxUFa5dli-EUaS-/s1600/Eddie+Loper+Jr%252C+Portrait+of+Don%252C+1916.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjosFy09k-VJPVp-YdnkHArHl3WOwspjHuBG44LDVVEfCm-y43tfS9yiMvnyPebgBgAFsvl7EWjVvSYWsmH3zrjrtI52IwnQ32PXxAlAXERMOjmNTP-cV6jmSS0VzGOkLxUFa5dli-EUaS-/s400/Eddie+Loper+Jr%252C+Portrait+of+Don%252C+1916.jpg" width="318" /></a></div>
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<span style="line-height: 115%; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin; mso-no-proof: yes;"><br /></span><span style="line-height: 115%; mso-bidi-font-size: 12.0pt;"></span></div>
<div class="MsoBodyText">
<span style="line-height: 115%; mso-bidi-font-size: 12.0pt;">Neither
as theatrical as the Hals’ portraits, nor as demonstrative of Hals’ technical
skill, Eddie’s portrait presents his “face” as a striking and interesting
dramatic pattern creating a harmony of rhythms.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoBodyText">
<br /></div>
<div class="MsoBodyText">
<span style="line-height: 115%; mso-bidi-font-size: 12.0pt;">His
painting educates my vision, and my analysis of it has been far more compelling,
exciting, and informative for me (and, I hope, you) than if I said, “this is a
work of art if I say so.”</span></div>
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<br /></div>
<div class="MsoBodyText">
<span style="line-height: 115%; mso-bidi-font-size: 12.0pt;">How
did we find out the earth is round?<span style="mso-spacerun: yes;"> </span>No,
I have not lost my mind.<span style="mso-spacerun: yes;"> </span>I am ending
with this question because, in 1972, Isaac Asimov wrote a book to answer it.</span></div>
<div class="MsoBodyText">
<br /></div>
<div class="MsoBodyText">
<span style="line-height: 115%; mso-bidi-font-size: 12.0pt;">In
it, he traces the history of how we answered this question beginning with ancient
people (who suspected the earth went on forever as a huge flat piece of land
and sea with no end at all) to 1961 when astronauts first went into orbit
around the earth and, by 1969, other astronauts had reached the moon.<span style="mso-spacerun: yes;"> </span>From outer space, they could look back on
earth and see it as an object in space. They could see that it was round. <span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoBodyText">
<br /></div>
<div class="MsoBodyText">
<span style="line-height: 115%; mso-bidi-font-size: 12.0pt;">Ancient
people looked at the stars, the moon, and the sun and asked questions.<span style="mso-spacerun: yes;"> </span>Little by little, curious people, including scholars
and explorers, discovered new information.<span style="mso-spacerun: yes;">
</span>That information led to new discoveries, and the answer, that the earth
is round and not flat, became clear.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoBodyText">
<br /></div>
<div class="MsoBodyText">
<span style="line-height: 115%; mso-bidi-font-size: 12.0pt;">Artists
do this too.<span style="mso-spacerun: yes;"> </span>In “Aesthetic Quality” by
Violette de Mazia, she said: “The artist is a teacher; he calls in the whole
world of neighbors, to whom he reveals by his created piece what he discovered
of aesthetic interest in his adventures in perception, what he re-created of
broad human value and which, unaided by the artist’s coherent expression, no
one could see so well, so fully, so richly, so specifically, or, in fact, at
all.” (<i style="mso-bidi-font-style: normal;">The Barnes Foundation, Journal of
the Art Department, </i>Spring, 1971, Vol. II, No. 1, p. 13).</span></div>
<div class="MsoBodyText">
<br /></div>
<div class="MsoBodyText">
<span style="line-height: 115%; mso-bidi-font-size: 12.0pt;">Pearl
S. Buck did not write in the catalog preface to a 1943 exhibit held in the
Bignou Gallery in New York, <i style="mso-bidi-font-style: normal;">Ancient
Chinese and Modern European Paintings,</i> “This is art because I say so.”<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoBodyText">
<br /></div>
<div class="MsoBodyText">
<span style="line-height: 115%; mso-bidi-font-size: 12.0pt;">She
wrote, “What are they saying to us in these pictures across the span of
centuries of time and the thousands of miles of land and sea? They are saying
that the ancient roots of man are the same; they are saying that western fruit can
grow from eastern seed, that seed can be separated from fruit by generations
and yet the process of life goes on between the two; they are saying that
between man and man, in time and in space, there is the common hope, the common
longing, for the spirit of man is the same everywhere and always.... All under
heaven are brothers.”<span style="mso-spacerun: yes;"> </span></span><br />
<br />
<span style="line-height: 115%; mso-bidi-font-size: 12.0pt;"><span style="mso-spacerun: yes;">And Dr. Barnes and Violette de Mazia, in great detail, revealed the art. </span></span></div>
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Marilyn Baumanhttp://www.blogger.com/profile/09221864675491721708noreply@blogger.com0tag:blogger.com,1999:blog-8720084087539855728.post-77661222545991386702016-01-11T13:03:00.001-08:002016-01-11T16:56:00.344-08:00Isms, Traditions, and Invention<!--[if !mso]>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">As promised in my previous post, </span><a href="http://whylookatart.blogspot.com/2015/10/a-tap-on-door-of-perception.html"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">“A
Tap on the Door of Perception,”</span></a><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"> this post explores
Eddie Loper Jr’s portrait of me and my portrait of my grandson and his cat. That
said, do you find the title odd?</span></div>
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<br /></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Since I soon will start teaching a course titled
“Isms Explored” at the Osher Lifelong Learning Institute in Wilmington, this
post will illuminate for me and, therefore, for you, how knowing the
characteristics of “isms” and grasping visual ideas recorded in the traditions
of art allow us to evaluate creativity, but in different ways.</span></div>
<div class="MsoNormal">
<br /></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Here is Eddie’s portrait of me along with the
photograph that served as his subject. Since he has not yet settled on a title,
I am calling it “Pink Eye,” because that tiny color unit to the right of the
almond shaped “eye” sparks a clue to the painting’s aesthetic meaning.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7UzeMR-wkDKE0f4v9lydo6N7uol89trPPJ_2tqNV9CWGwh-puGI_j-ViQl6vcX5g_hKNfMyXncDrXP4VkeZB8qviaFnC0UWGtYlET7Gsy7-l1nVEpR_vaWeyfrEaZm2iCE5AFqoKvdsPX/s1600/Eddie+Loper+Jr+Pink+Eye.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="319" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7UzeMR-wkDKE0f4v9lydo6N7uol89trPPJ_2tqNV9CWGwh-puGI_j-ViQl6vcX5g_hKNfMyXncDrXP4VkeZB8qviaFnC0UWGtYlET7Gsy7-l1nVEpR_vaWeyfrEaZm2iCE5AFqoKvdsPX/s320/Eddie+Loper+Jr+Pink+Eye.jpg" width="320" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglArkKUydBGthgxKASAkmIqI8JX55vmy5estZKSw3wzQ_S2uoHc1ClZPDW886C8pQGsZxM-Mntsxu2LhUhR-H7k3MhmL95EqUyiqpKbSYc-FevK-LdSRpfvSlBAw-efujqFjs3iSpc77Cv/s1600/Eddie+Loper+Jr+Pink+Eye+Subject.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="307" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglArkKUydBGthgxKASAkmIqI8JX55vmy5estZKSw3wzQ_S2uoHc1ClZPDW886C8pQGsZxM-Mntsxu2LhUhR-H7k3MhmL95EqUyiqpKbSYc-FevK-LdSRpfvSlBAw-efujqFjs3iSpc77Cv/s320/Eddie+Loper+Jr+Pink+Eye+Subject.jpg" width="320" /></a></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><span style="mso-tab-count: 2;"> </span><span style="mso-no-proof: yes;"><br /></span></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Fauvism comes to mind, doesn’t it?<span style="mso-spacerun: yes;"> </span>Every book on “Isms” I read describes the
Fauves (“wild beasts” in French) as a group of painters who applied to their
canvases intensely bright color in rough brushstrokes.<span style="mso-spacerun: yes;"> </span>Their work tended toward flatness,
non-natural color, and simplification.<span style="mso-spacerun: yes;">
</span>Between the years of about 1898 and 1906, Fauvism caused shockwaves, and
Louis Vauxcelles, a critic, gave the movement its name.<span style="mso-spacerun: yes;"> </span>The independent Salon d’Automne in Paris
presented a selection of works in this style in 1905 (including Henri Matisse,
André Derain, Kees van Dongen, and Maurice de Vlaminck) alongside an Italianate
bust.<span style="mso-spacerun: yes;"> </span>Vauxcelles proclaimed the
sculpture was like “Donatello parmi les fauves” (a Donatello among wild
beasts).<span style="mso-spacerun: yes;"> </span></span></div>
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<br /></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Here are a few examples of early Fauve work:</span></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHMYx7ZdcawH5wD_QT0hn_ubbaPZsvQiGUJMPN0G7LJ9HsSWgPaxxrUPA4ZI4tCCU7mCOA1QYX6cNZ8Fca-sofg1yJteta7ywh6ZymVwboDS86hgkUSP3FOPfZlgt-8cMqbWcvk-Vg59lY/s1600/De+Vlaminck%252C+The+Bar%252C+1900.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHMYx7ZdcawH5wD_QT0hn_ubbaPZsvQiGUJMPN0G7LJ9HsSWgPaxxrUPA4ZI4tCCU7mCOA1QYX6cNZ8Fca-sofg1yJteta7ywh6ZymVwboDS86hgkUSP3FOPfZlgt-8cMqbWcvk-Vg59lY/s320/De+Vlaminck%252C+The+Bar%252C+1900.jpg" width="240" /></a></div>
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<a href="http://library.artstor.org/library/secure/ViewImages?id=/TxTdD4gJDAnIS4ld1N7R3MpVn8ueFg%3D&source=ppt"><span style="color: windowtext; mso-no-proof: yes; text-decoration: none; text-underline: none;"><span style="mso-ignore: vglayout;"></span></span></a><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; line-height: 115%;">Maurice
de Vlaminck, <i style="mso-bidi-font-style: normal;">The Bar Counter, </i>1900, <span style="background: white; color: black;">Musee Calvet, Avignon</span></span></div>
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<br /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjF6popY81HNdKpE6ZMVSPFbaA8mytACee0s9Xd3PUXu8v7xWh_hvGchYZM-ouVxY5DZZwMgL0qQ2fe15_3K_K2VC1prqZ2TcHk01p5pPeHc3NlHC04Mbqe1UwvCYmbXk6VRC3lrPqSmaS7/s1600/Matisse%252C+Woman+with+a+Hat%252C+1905%252C+San+Fransciso.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjF6popY81HNdKpE6ZMVSPFbaA8mytACee0s9Xd3PUXu8v7xWh_hvGchYZM-ouVxY5DZZwMgL0qQ2fe15_3K_K2VC1prqZ2TcHk01p5pPeHc3NlHC04Mbqe1UwvCYmbXk6VRC3lrPqSmaS7/s320/Matisse%252C+Woman+with+a+Hat%252C+1905%252C+San+Fransciso.jpg" width="236" /></a></div>
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<a href="http://www.artstor.org/library/secure/ViewImages?id=8CNVfzckJjw9NEA7eD95QX4tWHko&source=ppt"><span style="color: windowtext; mso-no-proof: yes; text-decoration: none; text-underline: none;"><span style="mso-ignore: vglayout;"></span></span></a><span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; line-height: 115%;"></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; line-height: 115%;">Matisse,
<i style="mso-bidi-font-style: normal;">Woman with a Hat, </i>1905, San Francisco
Museum of Modern Art</span></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaarWA5aA0DBT1da1P1Rz3nvnjWuS-iq2SNWZIj_n2IGI6ALHKggYn6rZOMJMEm4xT-Cu70KWXASYpQd6YuWO69UC-_AC8XsZ7dh-zXm_RXy5z0Z5ReTxGbj960Rhfk8Xvj9ryPCYpDHQX/s1600/Van+Dongen%252C+Woman+in+a+Green+Hat%252C+1905.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="302" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaarWA5aA0DBT1da1P1Rz3nvnjWuS-iq2SNWZIj_n2IGI6ALHKggYn6rZOMJMEm4xT-Cu70KWXASYpQd6YuWO69UC-_AC8XsZ7dh-zXm_RXy5z0Z5ReTxGbj960Rhfk8Xvj9ryPCYpDHQX/s320/Van+Dongen%252C+Woman+in+a+Green+Hat%252C+1905.jpg" width="320" /></a></div>
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<a href="http://library.artstor.org/library/secure/ViewImages?id=8CJGczI9NzldLS1WEDhzTnkrX3ktclF9fC4%3D&source=ppt%26zoomparams%3D1,%201,%200.099338,%200,%200.861417,%200.762079,%200"><span style="color: windowtext; mso-no-proof: yes; text-decoration: none; text-underline: none;"><span style="mso-ignore: vglayout;"></span></span></a><span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; line-height: 115%;"></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; line-height: 115%;">Kees
van Dongen, <i style="mso-bidi-font-style: normal;">Woman in a Green Hat, </i>1905,
Fondation Socindec, Vaduz, Liechtenstein</span></div>
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<br /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3sMuyHdk9Eya41SW-KKxChctAXHILLtnb0EASdCNI-DxJkFLsBeNr4H59GQUDHyhHrH6Lvjiqw2yTTP-z24YAd-BVmTgJJr0VeAlwCxeygjvcUGF-HaYT3g1FRhw4F2LrITEikjNeEnPU/s1600/Kirchner%252C+Nude%252C+c.+1910%252C+BMA.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3sMuyHdk9Eya41SW-KKxChctAXHILLtnb0EASdCNI-DxJkFLsBeNr4H59GQUDHyhHrH6Lvjiqw2yTTP-z24YAd-BVmTgJJr0VeAlwCxeygjvcUGF-HaYT3g1FRhw4F2LrITEikjNeEnPU/s320/Kirchner%252C+Nude%252C+c.+1910%252C+BMA.jpg" width="263" /></a></div>
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<a href="http://www.artstor.org/library/secure/ViewImages?id=8DJDeS07LjYuOyI0Y1N7R3srX3wvfFdw&source=ppt"><span style="color: windowtext; mso-no-proof: yes; text-decoration: none; text-underline: none;"><span style="mso-ignore: vglayout;"></span></span></a><span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; line-height: 115%;"></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; line-height: 115%;">Ernst
Ludwig Kirchner, <i style="mso-bidi-font-style: normal;">Nude, </i>c. 1910,
Baltimore Museum of Art</span></div>
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<br /></div>
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<br /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiBaQB5gtDgsaruQdhSdUnsvsRaISq80xAz5-waGH4o_X4a-H1TW-LAbMDpAJC1H_1EjIo-vVMjqNccjbViDiQ7jpISlxi8fWOaQ8m83fCrSvAv1vlO8vqe5SPRD1ykf7pUZjyXAdv-J2T/s1600/Rouault%252C+Clown%252C+1912%252C+MoMa.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiBaQB5gtDgsaruQdhSdUnsvsRaISq80xAz5-waGH4o_X4a-H1TW-LAbMDpAJC1H_1EjIo-vVMjqNccjbViDiQ7jpISlxi8fWOaQ8m83fCrSvAv1vlO8vqe5SPRD1ykf7pUZjyXAdv-J2T/s320/Rouault%252C+Clown%252C+1912%252C+MoMa.jpg" width="240" /></a></div>
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<a href="http://library.artstor.org/library/secure/ViewImages?id=8D1Cdjk4RDUwLi07eDR1R38%3D&source=ppt"><span style="color: windowtext; mso-no-proof: yes; text-decoration: none; text-underline: none;"><span style="mso-ignore: vglayout;"></span></span></a><span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; line-height: 115%;"></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; line-height: 115%;">Georges
Rouault, <i style="mso-bidi-font-style: normal;">Clown, </i>1912, MoMA</span></div>
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<br /></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Eddie’s painting clearly displays Fauvist influence.<span style="mso-spacerun: yes;"> </span></span></div>
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<br /></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">If that is all the painting displayed, I would argue
it is merely Fauvism warmed over.<span style="mso-spacerun: yes;">
</span>Violette de Mazia coined this phrase by describing a roasted turkey
dinner, one you may have enjoyed during the past holiday season.<span style="mso-spacerun: yes;"> </span>If you re-heated the leftovers, you would get
“warmed over” turkey.<span style="mso-spacerun: yes;"> </span>But perhaps, like
me, you made turkey frame soup by first simmering the entire turkey carcass as
well as all the leftover meat and bones in a big pot of water, adding
vegetables, or rice, or noodles along with your own special seasonings.<span style="mso-spacerun: yes;"> </span>If you did that, you made something new.</span></div>
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<br /></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Eddie has done that.</span></div>
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<br /></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">We practitioners of the objective method know what
comes next.<span style="mso-spacerun: yes;"> </span>We examine the painting by
looking for the artist’s use of his plastic means: light, line, color, space,
subject, and tradition.<span style="mso-spacerun: yes;"> </span>Only then can we
ascertain creativity.</span></div>
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<br /></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Turning the painting upside down provides the
easiest way to begin because it allows us to focus on what is there: colors on
a flat surface.</span></div>
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<br /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoT1B-C6k3XmkUSgxs51Gane4AvbHsYg1aJWllT0SWM2BI9Z4qV_OckQLCe7VgHUAT-r1p_-kC62jdL9DprlDQYEXkyPBz1DWr3DVYxsUucSDey2q9U2JCjwIzH7Ikbt8EvvD2SpxkCwEw/s1600/Eddie+Loper+Jr+Pink+Eye+inverted+%25283%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="319" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoT1B-C6k3XmkUSgxs51Gane4AvbHsYg1aJWllT0SWM2BI9Z4qV_OckQLCe7VgHUAT-r1p_-kC62jdL9DprlDQYEXkyPBz1DWr3DVYxsUucSDey2q9U2JCjwIzH7Ikbt8EvvD2SpxkCwEw/s320/Eddie+Loper+Jr+Pink+Eye+inverted+%25283%2529.jpg" width="320" /></a></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-no-proof: yes;"><br /></span><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"></span></div>
<div class="MsoBodyText">
Remember I said the pink triangular sliver centered
slightly below the middle of the painting (now to the left) is a clue.<span style="mso-spacerun: yes;"> </span>Notice how it recedes as the right side of
the “face” and “eye” bulge forward. Notice the teardrop shape of both sections
as the color marks of the lower “face” build a convincing three-dimensional
unit.<span style="mso-spacerun: yes;"> </span></div>
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<br /></div>
<div class="MsoBodyText">
The “nose,” looking like a twisted pipe, juts outward to
the right while the color area of upper lip, mouth, and chin puff forward
accentuating the volume that says “face.”</div>
<div class="MsoBodyText">
<br /></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">If you follow the pink of the “sclera” (what was the
white of the eye), the rhythmic beat becomes insistent: pink outlines the
“eyes,” the “nose,” and the upper “lip.” A darker line of pink/red moves from
the lower left of the mouth, circles the “pink eye,” culminates at the “hairline,”
then softens to light pink spots in the “hair.”<span style="mso-spacerun: yes;"> </span></span></div>
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<br /></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">The “hair” encases the head in a soft, three-dimensional,
pillow-like mound, its color marks lighter than the colors of the “face,”
setting up a dramatic interplay of light/dark motifs.<span style="mso-spacerun: yes;"> </span></span></div>
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<br /></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">The warm facial colors contrast with cool upper body
colors, the “turtleneck sweater” another sloping triangular color unit, all of
which contrast with light color washes in the gridded background, gentle echoes
of the foreground unit. </span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Some of this is borrowed from Soutine, an artist the
“Ism” writers have a tough time placing.<span style="mso-spacerun: yes;">
</span>In <i style="mso-bidi-font-style: normal;">…isms, Understanding Art</i>,
Stephen Little places him in Modernism, a broad movement encompassing all the
avant-garde isms of the first half of the 20<sup>th</sup> century.<span style="mso-spacerun: yes;"> </span>Sam Phillips, in a companion book, places
Soutine in the “School of Paris,” a broad term used to describe the
international community of artists working in the city between the world wars,
and of Soutine, Chagall, and Modigliani, they are, he says, “perhaps the
closest the School of Paris has to defining artworks.” </span></div>
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<br /></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">The following Soutine painting, <i style="mso-bidi-font-style: normal;">Self Portrait with Beard, </i>illustrates Eddie’s adaptation of
Soutine’s solid, deep, rich, juicy, and variegated color. In Eddie’s hands,
color is lighter, softer, and drier. According to Dr. Barnes, in work by
Soutine “everywhere there is animation, motion, heightened by variety in the
direction in which the color-strokes run.”<span style="mso-spacerun: yes;">
</span>(<i style="mso-bidi-font-style: normal;">The Art in Painting, </i>p. 374).
Eddie’s color-strokes, however, run in a more subtle, in and out, back and
forth, motion in deeper space. </span></div>
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<br /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikpHlAkAPpK2L_5aKm1UbjZ5ucRfyD1NVl2T_sbxvDG3H30vm9vOHVTA39bqYsXrD9RvDxJWnxbgg-_sGQyz3fXB_yi6eWkAb35yrVHWIjA7lwfokGnPG1SgNW3okkV_jx0lJqynBkgaNx/s1600/Soutine%252C+Self+Portrait+with+Beard%252C+1917%252C+Private.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikpHlAkAPpK2L_5aKm1UbjZ5ucRfyD1NVl2T_sbxvDG3H30vm9vOHVTA39bqYsXrD9RvDxJWnxbgg-_sGQyz3fXB_yi6eWkAb35yrVHWIjA7lwfokGnPG1SgNW3okkV_jx0lJqynBkgaNx/s320/Soutine%252C+Self+Portrait+with+Beard%252C+1917%252C+Private.jpg" width="268" /></a></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-no-proof: yes;"></span><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; line-height: 115%;">1917,
Private Collection</span></div>
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<br /></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">I said I would explore Eddie’s painting and my
painting.<span style="mso-spacerun: yes;"> </span>However, I am still finishing
my painting, while Eddie has moved on to about 14 other paintings.</span></div>
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<br /></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Below is my painting “almost” completed. To its
right is the photo I am using as my subject.</span></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwOT_GtFfZCZjotgFOsnfG2ESCPiZFGP4hYDxsGzTFflPxg9x-Had8dtEPO3WagUWYkrW71ypRN-zrdNR97vw6CAjVnSvcJNS1kN4pQT1rOXfRclq6fWZ2qtNainQngMLBkvY1sxAwsIwb/s1600/Bauman%252C+A+Boy+and+His+Cat%252C+2016.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwOT_GtFfZCZjotgFOsnfG2ESCPiZFGP4hYDxsGzTFflPxg9x-Had8dtEPO3WagUWYkrW71ypRN-zrdNR97vw6CAjVnSvcJNS1kN4pQT1rOXfRclq6fWZ2qtNainQngMLBkvY1sxAwsIwb/s320/Bauman%252C+A+Boy+and+His+Cat%252C+2016.jpg" width="192" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfc7V2hWxRG0nlBkUn_KMm5cd8kJ-n7c0WkFiCUwW0NKmK2-I0nOiqFhCT1BuQXZsyPQCidNqVoLN8K9ZN87uhEvxKn01GLnCo9ymyYhwWgN-hLhnUkaZM1XzGjQUsdKFre1gsw06DNXgl/s1600/Josh+and+his+Cat.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfc7V2hWxRG0nlBkUn_KMm5cd8kJ-n7c0WkFiCUwW0NKmK2-I0nOiqFhCT1BuQXZsyPQCidNqVoLN8K9ZN87uhEvxKn01GLnCo9ymyYhwWgN-hLhnUkaZM1XzGjQUsdKFre1gsw06DNXgl/s320/Josh+and+his+Cat.jpg" width="256" /></a></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-no-proof: yes;"></span><span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; line-height: 115%;"><span style="mso-tab-count: 3;"> Bauman, <i>A Boy and His Cat, </i>2016?</span></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; line-height: 115%;"><span style="mso-tab-count: 3;"> </span></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">I do not know where my work fits from the standpoint
of the “isms.”<span style="mso-spacerun: yes;"> </span>I would place it within
Realism, if such a category existed, but it doesn’t.<span style="mso-spacerun: yes;"> </span>In some books, the School of London defines
painters who ignored the prevalent trends of Modernism by pursuing figurative
expressionism. </span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">My picture has a strong illustrative aspect with a
decorative appeal because of the vivid, repeating patterns in the “rug” and
“floor.”<span style="mso-spacerun: yes;"> </span>The colors are vivid, rich, and
bright.<span style="mso-spacerun: yes;"> </span>The dramatic, tilted perspective
nods toward Cubism because of its shifting viewpoints, but it is Cubism without
the angular shapes or subdued colors.<span style="mso-spacerun: yes;"> </span></span></div>
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<br /></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Upside down, all this is easier to see:</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbAuDD795KzN0IIRD13rzWGK8wvcxgKu-Q6I69puL-spIHibKwvx6Yjh3bHwEhwuNCkA3u62rJuxXgv4DIGAoQTJWJSNmu2nYP_aIzr7D-lm3glN-KCapGGTcmr-x9mt0EkUQ50LcawEU9/s1600/Bauman%252C+A+Boy+and+His+Cat%252C+2016%252C+inverted+%25283%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbAuDD795KzN0IIRD13rzWGK8wvcxgKu-Q6I69puL-spIHibKwvx6Yjh3bHwEhwuNCkA3u62rJuxXgv4DIGAoQTJWJSNmu2nYP_aIzr7D-lm3glN-KCapGGTcmr-x9mt0EkUQ50LcawEU9/s320/Bauman%252C+A+Boy+and+His+Cat%252C+2016%252C+inverted+%25283%2529.jpg" width="192" /></a></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-no-proof: yes;"></span><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">The foreshortening of the body does not look so
distorted right side up. Inverted, the painting looks weird.<span style="mso-spacerun: yes;"> </span>Now the large head compared to the short arm,
the crinkly outline of the cheek, the knobby knee, the angles of the table, the
patterns on the rug and floor, look bizarre.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Soutine does come to mind again, doesn’t he?</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Particularly, this painting:</span></div>
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<br /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKRfMjzgchRzfh282xp1v-Gk3FWKuXKMebOf_Rb-oY_zSmQcK5IZ3PSszwY9aX7vj_DbIWssA213eO6NGeK3ipi-a08dp8RA6dedo_0coAuM3d-c9qfk6_xZ3z_VxxrihkULDaZe_Eo6Yo/s1600/Soutine%252C+Woman+Asleep+over+a+Book%252C+c.+1937%252C+Madeleine+Castaing%252C+Paris.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKRfMjzgchRzfh282xp1v-Gk3FWKuXKMebOf_Rb-oY_zSmQcK5IZ3PSszwY9aX7vj_DbIWssA213eO6NGeK3ipi-a08dp8RA6dedo_0coAuM3d-c9qfk6_xZ3z_VxxrihkULDaZe_Eo6Yo/s320/Soutine%252C+Woman+Asleep+over+a+Book%252C+c.+1937%252C+Madeleine+Castaing%252C+Paris.jpg" width="218" /></a></div>
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<span style="font-family: "Times New Roman","serif"; mso-no-proof: yes;"></span><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; line-height: 115%;">Soutine,
<i style="mso-bidi-font-style: normal;">Woman Asleep over a Book, </i>c. 1937,
Madeleine Castaing, Paris</span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">According to Mme. Castaing, the figure is vertical,
reading with her head leaning back against the arm of a chair or sofa (<i style="mso-bidi-font-style: normal;">Soutine</i>, <i style="mso-bidi-font-style: normal;">Catalogue Raisonné</i>, p. 760).</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">If I invert the Soutine, this is how it looks:</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEia9EHKLzfftOnDZuJS9NjW__JDflVEuTK89-eyTbPm5J2toV3v0kikcm0QDppuWRx2bFK5e3XuM43vSOiiZiMZcpHJPwIwWN9QFOpYkSfgDVIes8QAiSjtabrMYLK4zDyNmTmAMV0bBTMf/s1600/Soutine%252C+Woman+Asleep+over+a+Book%252C+c.+1937%252C+Madeleine+Castaing%252C+Paris+%25282%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEia9EHKLzfftOnDZuJS9NjW__JDflVEuTK89-eyTbPm5J2toV3v0kikcm0QDppuWRx2bFK5e3XuM43vSOiiZiMZcpHJPwIwWN9QFOpYkSfgDVIes8QAiSjtabrMYLK4zDyNmTmAMV0bBTMf/s320/Soutine%252C+Woman+Asleep+over+a+Book%252C+c.+1937%252C+Madeleine+Castaing%252C+Paris+%25282%2529.jpg" width="218" /></a></div>
<div align="center" class="MsoNormal" style="text-align: center;">
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To see the visual ideas I adapted from Soutine, I cropped
my picture and placed it next to the inverted Soutine:</div>
<div class="MsoBodyText">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxPkc4YJthyphenhyphen3mqr-fK0LB1RGRi-ynxGA6EzLtZfC6NXUFfcfZyna5ahqCWnBC1Xau-KkoMM4dfqqtvco0H7g_cyjdbw06muqk4lqePinlkxEIbdaVdLRnUzAWr5Gsn9e8WZeraPpJ7KF6R/s1600/Bauman%252C+A+Boy+and+His+Cat%252C+2016%252C+cropped%252C+5.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxPkc4YJthyphenhyphen3mqr-fK0LB1RGRi-ynxGA6EzLtZfC6NXUFfcfZyna5ahqCWnBC1Xau-KkoMM4dfqqtvco0H7g_cyjdbw06muqk4lqePinlkxEIbdaVdLRnUzAWr5Gsn9e8WZeraPpJ7KF6R/s320/Bauman%252C+A+Boy+and+His+Cat%252C+2016%252C+cropped%252C+5.jpg" width="274" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguY8BYV9U-_-cBpyb3IUcTOMtVXaFJRhqxj6wq_flz8qRIlYMTkVdCkXznOen84ZcRgsLhW9YEHwtwaFKapgRxzcrSz5q6wVgIKX5vgm03goa4HJUbDSCO8-6wqY0Ta7clathNlvB0_nE4/s1600/Soutine%252C+Woman+Asleep+over+a+Book%252C+c.+1937%252C+Madeleine+Castaing%252C+Paris+%25282%2529.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguY8BYV9U-_-cBpyb3IUcTOMtVXaFJRhqxj6wq_flz8qRIlYMTkVdCkXznOen84ZcRgsLhW9YEHwtwaFKapgRxzcrSz5q6wVgIKX5vgm03goa4HJUbDSCO8-6wqY0Ta7clathNlvB0_nE4/s320/Soutine%252C+Woman+Asleep+over+a+Book%252C+c.+1937%252C+Madeleine+Castaing%252C+Paris+%25282%2529.jpg" width="218" /></a></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-no-proof: yes;"></span><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><span style="mso-tab-count: 2;"> </span><span style="mso-no-proof: yes;"><br /></span></span></div>
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">The inverted Soutine painting dramatically
presents a figure in a similar pose, but the color strokes, unctuous, pulled,
pushed, overlapping, and glowing, are set in a darkened amorphous space.<span style="mso-spacerun: yes;"> </span></span><br />
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><span style="mso-spacerun: yes;"> </span></span>
<br />
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">In my picture, the color strokes, chiseled, banded, and
pastel-like build a looming “head” that tilts upward and pushes forward in
space.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">If you look at the rendering of the “arm” in both
paintings, Soutine’s bulges, a solid, rounded volume like that of a summer
squash, while my “arm,” defined via a series of rectilinear color units,
flattens, a plank-like, hard volume like that of a piece of wood.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Examine my inverted painting again:</span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAvrcudo6ZGciT9opiQvuOuz5jm7AW1HoP1A7qZs_py5NSjPnS52BUUCUAO8lvFptwC_XgaVpJtsT0daaxLjz2ul3c0n8L55aBm0zOxsLp0PGaxVOJljKEe26ZlDNehAS9WNeCeDR7o2Ww/s1600/Bauman%252C+A+Boy+and+His+Cat%252C+2016%252C+inverted+%25283%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAvrcudo6ZGciT9opiQvuOuz5jm7AW1HoP1A7qZs_py5NSjPnS52BUUCUAO8lvFptwC_XgaVpJtsT0daaxLjz2ul3c0n8L55aBm0zOxsLp0PGaxVOJljKEe26ZlDNehAS9WNeCeDR7o2Ww/s320/Bauman%252C+A+Boy+and+His+Cat%252C+2016%252C+inverted+%25283%2529.jpg" width="192" /></a></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-no-proof: yes;"><br /></span><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Start at the edge of the right side of the face (now
to the left). Look at the ripple.<span style="mso-spacerun: yes;"> </span>Now
look at the color marks of the red “shirt”; the stripe on the dark blue “shorts”;
the “cat’s tail”; the curl in the “boy’s hair”; the patterns in the “rug”; the
curves of the overlapping “legs.”<span style="mso-spacerun: yes;"> </span>Look
at the space recession between the figure and the floor and the “cat” and the
table.<span style="mso-spacerun: yes;"> </span>Look at the contrast of large
curved units like the back of the shirt and the shorts of the “boy” and the large
angular units like the legs and top of the table to the left. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Then look at my painting again, right side up:</span></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZgJwzAbom7jhgWpkjHaAJn8ix6NZVnaMbNS_m62DKR9JGfF7nqJaPFboNAQdnKlHo5HtpxPdshuQhbXZKMrRNazgZ1HjBO2LFWnBjZXKcD_EfWrDIpd87wTGm3OTMoWEpMVa1Xn-xqLIs/s1600/Bauman%252C+A+Boy+and+His+Cat%252C+2016.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZgJwzAbom7jhgWpkjHaAJn8ix6NZVnaMbNS_m62DKR9JGfF7nqJaPFboNAQdnKlHo5HtpxPdshuQhbXZKMrRNazgZ1HjBO2LFWnBjZXKcD_EfWrDIpd87wTGm3OTMoWEpMVa1Xn-xqLIs/s320/Bauman%252C+A+Boy+and+His+Cat%252C+2016.jpg" width="192" /></a></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-no-proof: yes;"><br /></span><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"></span></div>
<div class="MsoBodyText">
The floorboards on top slant right as do the linear
patterns in the rug.<span style="mso-spacerun: yes;"> </span>The table leg on
the right side of the painting echoes that slant. The top edge of the table,
slanting in the opposite direction, establishes the key spatial drama, setting
figure and cat lower in space, and counterbalancing the “boy’s head,” a large,
brightly colored, solidly ovoid, projecting mass.<span style="mso-spacerun: yes;"> </span>All of which says “this boy,” “this cat,” on
this “floor,” in this “room.”</div>
<div class="MsoBodyText">
<br /></div>
<div class="MsoBodyText">
Now I need to finish it. You may be wondering how I
know when I am finished. I stop when I can’t find anything that bothers me.</div>
<div class="MsoBodyText">
<br /></div>
<div class="MsoBodyText">
Julian Barnes (no relation to Albert Barnes) writes in his
soon to be released new book <i style="mso-bidi-font-style: normal;">Keeping an
Eye Open: Essays on Art, </i>“…in all the arts there are usually two things
going on at the same time: the desire to make it new, and a continuing
conversation with the past.<span style="mso-spacerun: yes;"> </span>All the
great innovators look to previous innovators, to the ones who gave them
permission to go and do otherwise, and painted homages to predecessors are a
frequent trope.” <i style="mso-bidi-font-style: normal;"><span style="mso-spacerun: yes;"> </span></i>Julian may not be related to Albert, but
he thinks like him.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoBodyText">
<br /></div>
<div class="MsoBodyText">
If you want to explore more of Edward Loper, Jr.’s work, please
visit his current exhibit <i style="mso-bidi-font-style: normal;">Color-Line-Structure</i>
at the Siegel JCC ArtSpace, 101 Garden of Eden Road, Wilmington, DE 19803,
through February 2016.<span style="mso-spacerun: yes;"> </span>Or you can visit
his website: <a href="http://www.edwardloperjr.com/" target="_blank">www.EdwardLoperJr.com</a><a href="https://www.blogger.com/null">.</a></div>
<a href="http://www.edwardloperjr.com/" target="_blank"></a><br />Marilyn Baumanhttp://www.blogger.com/profile/09221864675491721708noreply@blogger.com0tag:blogger.com,1999:blog-8720084087539855728.post-11129689406832100912015-10-16T10:16:00.000-07:002015-10-16T10:16:09.951-07:00A Tap on the Door of Perception<!--[if !mso]>
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<br />
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">I felt bored for the past several weeks.<span style="mso-spacerun: yes;"> </span>If you remember the Lerner and Loewe song
from <i style="mso-bidi-font-style: normal;">Gigi,</i> “It’s a Bore,” sung by Gaston
and his Uncle Honore, you will understand how I felt.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Here are the first few stanzas:</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-left: .5in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">H: Look at all
the captivating fascinating things there are to do</span></div>
<div class="MsoNormal" style="line-height: normal; margin-left: .5in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">G: Name two.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-left: .5in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">H: Look at the
pleasures of the myriad of treasures we have got</span></div>
<div class="MsoNormal" style="line-height: normal; margin-left: .5in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">G: Like what?</span></div>
<div class="MsoNormal" style="line-height: normal; margin-left: .5in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">H: Look at Paris
in the spring when each solitary thing is more beautiful than ever before! You
can hear every tree almost saying, "Look at me!"</span></div>
<div class="MsoNormal" style="line-height: normal; margin-left: .5in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">G: What color
are the trees?</span></div>
<div class="MsoNormal" style="line-height: normal; margin-left: .5in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">H: Green!</span></div>
<div class="MsoNormal" style="line-height: normal; margin-left: .5in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">G: What color
were they last year?</span></div>
<div class="MsoNormal" style="line-height: normal; margin-left: .5in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">H: Green!</span></div>
<div class="MsoNormal" style="line-height: normal; margin-left: .5in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">G: And next
year?</span></div>
<div class="MsoNormal" style="line-height: normal; margin-left: .5in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">H: Green!</span></div>
<div class="MsoNormal" style="line-height: normal; margin-left: .5in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">G: It's a bore!</span></div>
<div class="MsoNormal" style="line-height: normal; margin-left: .5in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">H: Don't you
marvel at the power of the mighty Eiffel Tower knowing there it will remain
evermore? Climbing up to the sky over 90 stories high.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-left: .5in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">G: How many
stories?</span></div>
<div class="MsoNormal" style="line-height: normal; margin-left: .5in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">H: 90</span></div>
<div class="MsoNormal" style="line-height: normal; margin-left: .5in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">G How many
yesterday?</span></div>
<div class="MsoNormal" style="line-height: normal; margin-left: .5in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">H: 90</span></div>
<div class="MsoNormal" style="line-height: normal; margin-left: .5in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">G: And tomorrow?</span></div>
<div class="MsoNormal" style="line-height: normal; margin-left: .5in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">H: 90</span></div>
<div class="MsoNormal" style="line-height: normal; margin-left: .5in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">G: It's a bore!</span></div>
<div class="MsoNormal" style="line-height: normal; margin-left: .5in;">
<br /></div>
<div class="MsoBodyText">
I dragged around doing what I had to do, but mostly going
through the motions.<span style="mso-spacerun: yes;"> </span>I had no ideas for
a blog post, I had no enthusiasm for painting, and even teaching the traditions
class at the Osher Lifelong Learning Institute felt routine rather than
innovative.</div>
<div class="MsoBodyText">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">I blamed my malaise on the shorter fall days with
the resultant decline of sunlight, on approaching my 75<sup>th</sup> birthday, on
being burned out with painting, on having nothing left to say about art
appreciation.</span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"> <span style="mso-spacerun: yes;"><br /></span></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">I rationalized that posting 79 essays on my blog
since 2010 was a remarkable accomplishment.<span style="mso-spacerun: yes;">
</span>Maybe it was time to quit. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Still, I loved writing them, and I missed that.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">I remembered how I used to see painting subjects
everywhere I looked, and I worried I might never again get excited by a new
visual idea. I also knew I did not want to grind out paintings I did not feel
inspired to make.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">I felt even more enervated after I visited Edward
Loper, Jr., the 80-year-old son of my mentor, Edward L. Loper, Sr. <span style="mso-spacerun: yes;"> </span>There to retrieve some tomatoes he had grown
in his garden, I looked at the abundance of paintings and pastel drawings he
had produced since I last saw him.<span style="mso-spacerun: yes;"> </span>“I
work day and night,” he told me. “When I wake up at 2 am, I go to the studio
and start another picture.”<span style="mso-spacerun: yes;"> </span>He found everything
around him worthy of his effort—the window to his backyard; the objects on his
living room table; the photographs of friends and colleagues he used to paint
their portraits.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Edward Loper, Sr., used to insist an artist could
make a painting out of a pile of dirt if he knew what he was doing.<span style="mso-spacerun: yes;"> </span>However, I knew Loper, Sr. had dry spells
similar to the one I was suffering through, and he went long periods without
painting, filling up his time with teaching. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">And complaining. <span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">I did my share of complaining.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">A few days after my visit, Eddie asked if I could
stop by so he could take some photos of me for him to use as his subject for a
portrait.<span style="mso-spacerun: yes;"> </span>He had me stand in his doorway
so I caught the light, and he asked me to face left.<span style="mso-spacerun: yes;"> </span>Then Connie, his better (very patient) half, took
several more with me looking directly at her as Eddie grumbled in the
background he did not like that pose.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">As it turned out, he started this picture using the
photo Connie took:</span></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiM8l_P_gHzO93aCmvedk5sdiGsYP54NHWsaDIlgyYRlTl_65P4_OsnaEKMgNZGGiVijeHdTy4ihV4TQrEO6SXJvu1kMm91x8vOopHCi4gfOAtxftEleqqb7MJiguS4KOp5ew90ZI16uH95/s1600/Loper%252C+Jr.+Portrait+of+Marilyn.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiM8l_P_gHzO93aCmvedk5sdiGsYP54NHWsaDIlgyYRlTl_65P4_OsnaEKMgNZGGiVijeHdTy4ihV4TQrEO6SXJvu1kMm91x8vOopHCi4gfOAtxftEleqqb7MJiguS4KOp5ew90ZI16uH95/s400/Loper%252C+Jr.+Portrait+of+Marilyn.jpg" width="273" /></a></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-no-proof: yes;"></span><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"></span></div>
<div class="MsoBodyText">
<br /></div>
<div class="MsoBodyText">
In an email, Connie wrote, “he began on Sunday and has
rarely left it . . . an artist possessed.”</div>
<div class="MsoBodyText">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">I wanted to do something, anything, which might allow
me to feel that way again.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">I decided to send an email to my grandson asking if he
would pose for me with his two cats.<span style="mso-spacerun: yes;"> </span>I
knew he might not be willing to do so himself, because he did not like the last
painting I did of him.<span style="mso-spacerun: yes;"> </span>But he loved his
two cats, Ming and Mae, a brother and sister with feline exuberance. He
immediately emailed back saying “sure.”</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">My husband and I arranged to come to his house to
take the photos.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">When we arrived, my son cautioned, “You’ve heard
about herding cats, haven’t you?”<span style="mso-spacerun: yes;"> </span>I had,
but I had no idea what that really meant. I soon found out.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">The cats would not curl up in his lap, sit on his
shoulder, or stay still for a second.<span style="mso-spacerun: yes;"> </span>We
took many pictures, but they all had both cats leaping on or off <span style="mso-spacerun: yes;"> </span>my grandson, or lots of other arms and hands in
the picture trying to keep them somewhere near him.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Finally, Josh stretched out on the floor, and Ming,
the larger of the two cats, curled up next to him.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoBodyText">
When we arrived home, and my husband started showing me
the photos he had transferred from his camera to his computer, I watched them
go by.<span style="mso-spacerun: yes;"> </span>I felt more discouraged than
before.<span style="mso-spacerun: yes;"> </span>None of them appealed to me,
until he showed me this one. </div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQfaxkbyTxMzAJKA-dPNRGR8GnFs52qR_wUKupCvd-ohCAS3kn4GbXFs6exjAzTVU5iByH4B952y0MMTyX_gwYXI0CQ7hcZB_mwVk7A2K_GogixpTBF0B5ooL6hPlBmwDioYZk4AM4yAiQ/s1600/Josh+and+his+Cat.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQfaxkbyTxMzAJKA-dPNRGR8GnFs52qR_wUKupCvd-ohCAS3kn4GbXFs6exjAzTVU5iByH4B952y0MMTyX_gwYXI0CQ7hcZB_mwVk7A2K_GogixpTBF0B5ooL6hPlBmwDioYZk4AM4yAiQ/s320/Josh+and+his+Cat.jpg" width="256" /></a></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-no-proof: yes;"></span><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"></span></div>
<div class="MsoBodyText">
<br /></div>
<div class="MsoBodyText">
<span style="mso-spacerun: yes;"> </span>“STOP,” I shouted. <span style="mso-spacerun: yes;"> </span>That’s it!<span style="mso-spacerun: yes;">
</span>I could feel my heart race.<span style="mso-spacerun: yes;"> </span>I had
an idea. </div>
<div class="MsoBodyText">
<br /></div>
<div class="MsoBodyText">
It came, not as a tap on the door of perception, but as a
BIG BANG.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoBodyText">
<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">In that moment, I also knew what had been wrong with
me.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Habit and routine had deadened me.<span style="mso-spacerun: yes;"> </span>It does that to all of us.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">The only antidote is action.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Rollo May, in <i style="mso-bidi-font-style: normal;">The
Courage to Create, </i>wrote that “Kierkegaard and Nietzsche and Camus and
Sartre have proclaimed that courage is not the absence of despair; it is,
rather, the capacity to move ahead <i style="mso-bidi-font-style: normal;">in
spite of despair.</i>” (pp. 2-3)</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">And when an artist moves ahead, a vital element in
the creative act is the strength of the encounter, an experience characterized
by an intensity of awareness, a heightened consciousness.<span style="mso-spacerun: yes;"> </span>As May wrote, “<i style="mso-bidi-font-style: normal;">Absorption, being caught up in, wholly involved…</i>are used commonly
to describe the state of the artist or scientist when creating….” (p. 38)</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">While we do not know why an idea emerges at a given
time, we do know that when one occurs, it strikes us as true, as important, as
valuable, even though we have no idea what it is exactly, and we have to, in my
case, paint the picture to discover it.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Stravinsky said this best: “Step by step, link by
link, it will be granted [the artist] to discover the work…. All creation
presupposes at its origin a sort of appetite that is brought on by the
foretaste of discovery. This foretaste of the creative act accompanies the
intuitive grasp of an unknown entity already possessed but not yet
intelligible, an entity that will not take definite shape except by the action
of a constantly vigilant technique.” (<i style="mso-bidi-font-style: normal;">Poetics
of Music in the form of six lessons, </i>pp. 51-52)</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Stravinsky also said a composer “improvises
aimlessly the way an animal grubs about.<span style="mso-spacerun: yes;">
</span>Both of them go grubbing about because they yield to a compulsion to
seek things out…So we grub about in expectation of our pleasure, guided by our
scent, and suddenly we stumble against an unknown obstacle.<span style="mso-spacerun: yes;"> </span>It gives us a jolt, a shock, and this shock
fecundates our creative power.” (pp. 56-57)</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">I had been grubbing about. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">No more.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Now I am painting my picture.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">In the past few days, I wrote this post.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">As I happily did both this week, I presumed Eddie,
in the same few days, finished his portrait of me and completed several more
paintings.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">In the next post, after I finish my painting, <span style="mso-spacerun: yes;"> </span>I will discuss both Eddie’s painting and mine.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Sooner than later, I hope.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
Marilyn Baumanhttp://www.blogger.com/profile/09221864675491721708noreply@blogger.com0tag:blogger.com,1999:blog-8720084087539855728.post-40090672126155669672015-08-20T13:54:00.000-07:002015-08-20T13:54:14.375-07:00To See, or Not to See<!--[if !mso]>
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Recently I traveled to New Hampshire with my son’s family for
a week of painting and vacationing.<span style="mso-spacerun: yes;"> </span>We
stayed at Abakee Cottages, knotty pine, cozy cabins on Lake Winnipesaukee. </div>
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<br /></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Once I got there, nothing said, “Paint me.”<span style="mso-spacerun: yes;"> </span>I had, as we say in my business, no visual ideas.<span style="mso-spacerun: yes;"> </span>I felt burned out and frustrated.</span></div>
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<br /></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">I could easily have moped, but my grandchildren were
gleeful to be there. My husband, son, and daughter in law were happy as well.
They welcomed the cool, clear air, the small beach and dock, and the “fun” to
be had at nearby Weirs Beach and in the surrounding area.<span style="mso-spacerun: yes;"> </span></span></div>
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<br /></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Little did I realize, in Wordsworth’s words, what
“wealth to me the show had brought.” </span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">I have William Glackens to thank.</span></div>
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<br /></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">In previous posts, I said knowing paintings permits
us to see more in our everyday world. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">This post will describe just how this worked for me.</span></div>
<div class="MsoNormal">
<br /></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">First, I will show you a few of Glackens’ paintings
that informed my vision:</span></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBywOqE4wX-4U007dGxKlvYhnWXPVJ0-xKagPa73Yj24NlzYX0KtZ_9jejT3wxx_IvD8tURQZ7OEpLX3xfsSH_Hn71e3BsOAm3uPlOHhuDIuSUsb8spg44liYAhz0QA6qt5j27F4mFjcV7/s1600/Glackens%252C+Bathers+at+Bellport%252C+c.+1912%252C+Phillips+Collection.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBywOqE4wX-4U007dGxKlvYhnWXPVJ0-xKagPa73Yj24NlzYX0KtZ_9jejT3wxx_IvD8tURQZ7OEpLX3xfsSH_Hn71e3BsOAm3uPlOHhuDIuSUsb8spg44liYAhz0QA6qt5j27F4mFjcV7/s320/Glackens%252C+Bathers+at+Bellport%252C+c.+1912%252C+Phillips+Collection.jpg" width="320" /></a></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; line-height: 115%; mso-no-proof: yes;"><br /></span><span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; line-height: 115%;"></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; line-height: 115%;">Glackens,
<i style="mso-bidi-font-style: normal;">Bathers at Bellport, </i>c. 1912,
Phillips Collection</span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijkskE-eqIoUgfsXXOGZ3X0FPYSRp_k21O_30SFYFJ9ToD90BlCcnMpfOsMHE6M5VY8E686MTJ06YzLIg92URX0srihfCoFzGelnQgVxJfTgTTmmCCfQunHaWU-r6d7ijmUewi92u8gcTq/s1600/Glackens%252C+Bathing+at+Bellport%252C+Long+Island%252C+1912%252C+Brooklyn+Museum.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="259" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijkskE-eqIoUgfsXXOGZ3X0FPYSRp_k21O_30SFYFJ9ToD90BlCcnMpfOsMHE6M5VY8E686MTJ06YzLIg92URX0srihfCoFzGelnQgVxJfTgTTmmCCfQunHaWU-r6d7ijmUewi92u8gcTq/s320/Glackens%252C+Bathing+at+Bellport%252C+Long+Island%252C+1912%252C+Brooklyn+Museum.jpg" width="320" /></a></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; line-height: 115%; mso-no-proof: yes;"><br /></span><span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; line-height: 115%;"></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; line-height: 115%;">Glackens,
<i style="mso-bidi-font-style: normal;">Bathing at Bellport, Long Island, </i>1912,
Brooklyn Museum</span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyVSDj6iv5bbof31vrkavIJwtj8Db3ttQ0GJkDZEjQ8yjs14E1qb31CNb0fJrDs7ArloFCjAoG1tmTh9aIZZ8ZPqgLGiPBJ3STtQUlFBQc6LqvNNrvvmKX9D7ceInLNCPh9GqTrhIuWtPo/s1600/Glackens%252C+The+Bathing+Hour%252C+Chester%252C+Nova+Scotia%252C+1910%252C+Barnes+%25283%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="261" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyVSDj6iv5bbof31vrkavIJwtj8Db3ttQ0GJkDZEjQ8yjs14E1qb31CNb0fJrDs7ArloFCjAoG1tmTh9aIZZ8ZPqgLGiPBJ3STtQUlFBQc6LqvNNrvvmKX9D7ceInLNCPh9GqTrhIuWtPo/s320/Glackens%252C+The+Bathing+Hour%252C+Chester%252C+Nova+Scotia%252C+1910%252C+Barnes+%25283%2529.jpg" width="320" /></a></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; line-height: 115%; mso-no-proof: yes;"><br /></span><span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; line-height: 115%;"></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; line-height: 115%;">Glackens,
<i style="mso-bidi-font-style: normal;">The Bathing Hour, Chester, Nova Scotia</i>,
1910, Barnes</span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhviusFTxK17mebRebFsbl9yRZSQHD-EO5hiX6HjwsO7fEFlJmBA8zU9J4fbceoorB9x_8TBI_GHrCSpG1KmsKGSeLYxqN0zb1OnVJ9Xw_rqN7FXhCwOTBwkAS_4yBgAcN08ZwnrQlVOus6/s1600/Glackens%252C+The+Little+Pier%252C+c.+1915%252C+Barnes+%25282%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="264" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhviusFTxK17mebRebFsbl9yRZSQHD-EO5hiX6HjwsO7fEFlJmBA8zU9J4fbceoorB9x_8TBI_GHrCSpG1KmsKGSeLYxqN0zb1OnVJ9Xw_rqN7FXhCwOTBwkAS_4yBgAcN08ZwnrQlVOus6/s320/Glackens%252C+The+Little+Pier%252C+c.+1915%252C+Barnes+%25282%2529.jpg" width="320" /></a></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; line-height: 115%; mso-no-proof: yes;"><br /></span><span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; line-height: 115%;"></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; line-height: 115%;">Glackens,
<i style="mso-bidi-font-style: normal;">The Little Pier</i>, c. 1915, Barnes</span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvx_F1fc0owW9A_fy26-l4PkTYPfBx2o54eYuzjterw_USNYo5Vn0CEGCR7T_qe-QM1b5L42OfjJVkDOm-DCugNZymW493biW4yGkNEpY5L4_-maIUBOzZfyw4FGwq3yWa0KtN5VNsdZaB/s1600/Glackens%252C+The+Raft%252C+1915%252C+Barnes.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="269" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvx_F1fc0owW9A_fy26-l4PkTYPfBx2o54eYuzjterw_USNYo5Vn0CEGCR7T_qe-QM1b5L42OfjJVkDOm-DCugNZymW493biW4yGkNEpY5L4_-maIUBOzZfyw4FGwq3yWa0KtN5VNsdZaB/s320/Glackens%252C+The+Raft%252C+1915%252C+Barnes.jpg" width="320" /></a></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; line-height: 115%; mso-no-proof: yes;"><br /></span><span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; line-height: 115%;"></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; line-height: 115%;">Glackens,
<i style="mso-bidi-font-style: normal;">The Raft, </i>1915, Barnes</span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyuaHQDCj8HrafamV6oiL1zKu2rkds2z5a0RCQ5y38bmm9ddMKwGmf7GHM4TqVUbts2xSOT_AhTStJ5Z-Uf3mvoqX_pP9fmoktBX_Dj2grqaa-auWZyOE-vcPOQUnkVCb0ffke2PdEqxyb/s1600/Glackesn%252C+At+the+Beach%252C+c.+1918%252C+Newark+Museum.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyuaHQDCj8HrafamV6oiL1zKu2rkds2z5a0RCQ5y38bmm9ddMKwGmf7GHM4TqVUbts2xSOT_AhTStJ5Z-Uf3mvoqX_pP9fmoktBX_Dj2grqaa-auWZyOE-vcPOQUnkVCb0ffke2PdEqxyb/s320/Glackesn%252C+At+the+Beach%252C+c.+1918%252C+Newark+Museum.jpg" width="320" /></a></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; line-height: 115%; mso-no-proof: yes;"><br /></span><span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; line-height: 115%;"></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-family: "Times New Roman","serif"; font-size: 8.0pt; line-height: 115%;">Glackens,
<i style="mso-bidi-font-style: normal;">At the Beach, </i>1918, Newark Art Museum</span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoBodyText">
In 1910, James Hunecker described Glackens seaside paintings
this way:<span style="mso-spacerun: yes;"> </span>“these waters, skies, beaches,
bath houses of uncompromising lines, these drifting or moored boats, with
humanity strolling, sitting, bathing, are nevertheless so real, or rather evoke
the illusion of reality, that you experience in their presence what Henry James
calls ‘the emotion of recognition.’” </div>
<div class="MsoBodyText">
<br /></div>
<div class="MsoBodyText">
Dr. Barnes described them this way: “[Glackens] shows with
detachment the essential picturesqueness and humanity of the events
represented, and his only comment upon life is that it is pleasant to live in a
beautiful world."</div>
<div class="MsoBodyText">
<br /></div>
<div class="MsoBodyText">
Glackens’ paintings helped me appreciate what I saw in
front of me, and I enjoyed my here and now “show” in real time.</div>
<div class="MsoBodyText">
<br /></div>
<div class="MsoBodyText">
For example, this photograph captures the movement of my
grandson jumping off the floating dock as I climbed on it. </div>
<div class="MsoBodyText">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGH7MAHgmgYJ7uqEywTd2GcVa8fvwE9r0YcMeqF5wTDIYzvmO2IR-J6M7esGYYZEkWse2vPN65G6l8oxjiEQ9DdWbO2rEF5EWf3t-Sy64WLzA6a24mW6TPhJK4JJJJ1jGtHVKTB3r5tHC2/s1600/Abakee+1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="244" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGH7MAHgmgYJ7uqEywTd2GcVa8fvwE9r0YcMeqF5wTDIYzvmO2IR-J6M7esGYYZEkWse2vPN65G6l8oxjiEQ9DdWbO2rEF5EWf3t-Sy64WLzA6a24mW6TPhJK4JJJJ1jGtHVKTB3r5tHC2/s320/Abakee+1.jpg" width="320" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6BN92k83YkQIRmgsUoXTdRbNNTCs8Ioi1TzHX8y5zIruYufhDqqeFqxDhko2cDg8auFnPw_FRj3heMrNbGpZevdXuVP0WPa7u8pe8aKxPs46J1aMeDgpuPERyihMfOvJ6drR1wWPg-ZqD/s1600/Glackens%252C+The+Little+Pier%252C+c.+1915%252C+detail.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><br /></a></div>
<div align="center" class="MsoBodyText" style="text-align: center;">
<span style="mso-no-proof: yes;"><br /></span></div>
<div class="MsoBodyText">
It reminded me of a detail in Glackens’ painting <i style="mso-bidi-font-style: normal;">The Little Pier:</i></div>
<div class="MsoBodyText">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKyCAxOWAVIiweMhkMpqTOh4yqYcQC0t4kvIVr1LL19T7APywAR83ZxbBq4CanW-X15sLxmohbyNxUEMmlokZ3H5M4p-YVZRNxQ_sCpwtFoEkWqV-YRaArYcFFQcgPH2BwicPVb5AL0aRq/s1600/Glackens%252C+The+Little+Pier%252C+c.+1915%252C+detail.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="290" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKyCAxOWAVIiweMhkMpqTOh4yqYcQC0t4kvIVr1LL19T7APywAR83ZxbBq4CanW-X15sLxmohbyNxUEMmlokZ3H5M4p-YVZRNxQ_sCpwtFoEkWqV-YRaArYcFFQcgPH2BwicPVb5AL0aRq/s320/Glackens%252C+The+Little+Pier%252C+c.+1915%252C+detail.jpg" width="320" /></a></div>
<div align="center" class="MsoBodyText" style="text-align: center;">
<span style="mso-no-proof: yes;"><br /></span></div>
<div class="MsoBodyText">
I am not saying we have identical visual statements in
these images.<span style="mso-spacerun: yes;"> </span>I am saying that the
activity in Glackens’ painting of small, vivid, contrasting color units set in receding
arcs of oranges, greens, reds, and blues, express lively, active, colorful drama.
In the detail of the Glackens’ painting above, the row boat tips to the left as
the floating dock tips to the right creating an inverted pyramid echoed by the
steps up to the pier; the diving figure, a diagonal torpedo, enters an exploding
upwards splash of pink, yellow, and blue vertical strips rhythmically repeating
the rippling arcs of the water.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoBodyText">
<br /></div>
<div class="MsoBodyText">
The photo of me climbing up to the floating dock as my
grandson jumped off is not as orchestrated as <i style="mso-bidi-font-style: normal;">The Little Pier. </i>However, when I made the connection of its
qualities to the Glackens’ painting, I felt as though I had experienced
something important.<span style="mso-spacerun: yes;"> </span>Perceiving
connections will do that to you. </div>
<div class="MsoBodyText">
<br /></div>
<div class="MsoBodyText">
Now look at this diagram of <i style="mso-bidi-font-style: normal;">The Raft:</i></div>
<div class="MsoBodyText">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmwDA7S2_g6fV43tQzFMUh5Mk8l_MIXndeZsuWeIpVAcKsyn_9lHwkhWSuPd5n4a5I_rzNlywFOvnOzIjxz4crRAab9dsfgGmRW9DX6SHofkrE1Dx3dBsovyGimWmXYSrXk3rc3VyEyJPh/s1600/Glackens%252C+The+Raft%252C+1915%252C+diagram+%25283%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="269" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmwDA7S2_g6fV43tQzFMUh5Mk8l_MIXndeZsuWeIpVAcKsyn_9lHwkhWSuPd5n4a5I_rzNlywFOvnOzIjxz4crRAab9dsfgGmRW9DX6SHofkrE1Dx3dBsovyGimWmXYSrXk3rc3VyEyJPh/s320/Glackens%252C+The+Raft%252C+1915%252C+diagram+%25283%2529.jpg" width="320" /></a></div>
<div align="center" class="MsoBodyText" style="text-align: center;">
<span style="mso-no-proof: yes;"><br /></span></div>
<div class="MsoBodyText">
The diagram marks the triangular compositional devices
connecting the large floating dock on the left with the smaller pier on the
right and includes the “rescue boat,” as Violette de Mazia labeled it, linking
the two.<span style="mso-spacerun: yes;"> </span>It also diagrams the color
units circling the dock and pier, adding to the animation of the entire
ensemble.</div>
<div class="MsoBodyText">
<br /></div>
<div class="MsoBodyText">
As I observed children and their parents on inflated tubes
or swimming in Lake Winnipesaukee, I enjoyed the spectacle of colors, shapes,
and movement of their actions because I knew Glackens’ painting.</div>
<div class="MsoBodyText">
<br /></div>
<div class="MsoBodyText">
My photo does not come close to the aesthetic qualities in
the Glackens’ painting, but it does illustrate why the spectacle intrigued me. Examine the next two photographs and see if you agree:</div>
<div align="center" class="MsoBodyText" style="text-align: center;">
<span style="mso-no-proof: yes;"><br /></span></div>
<div class="MsoBodyText">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPkyBTe4FXNdjchLCs65kHMDWTsY_he6QjLMOhGwEbR4v7N0tFzDAlfvPnRoFP6BWfz_xSyAy6AoAZa-jqpzWszi_K1TomzvHmIMLGX7s5nNpBdH6CQJTBDVOUPeH8LzVqiXnOs_b8CCIK/s1600/Abakee+9.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="227" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPkyBTe4FXNdjchLCs65kHMDWTsY_he6QjLMOhGwEbR4v7N0tFzDAlfvPnRoFP6BWfz_xSyAy6AoAZa-jqpzWszi_K1TomzvHmIMLGX7s5nNpBdH6CQJTBDVOUPeH8LzVqiXnOs_b8CCIK/s320/Abakee+9.jpg" width="320" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiV1tNRG6NNah50kiXDXFdBIJ7qdyT2OjLk3JvhnUpJOWXS4V1gDm6LmgQcldOJQG7VPZx_Zbcw3U6sM1iOd0aIuoPAR6FIirYgGr6Wy8Slj8mSR-CoVR_iyn2UUww-dc7h2TG4Lvg9wYmk/s1600/Abakee+10+%25282%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="131" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiV1tNRG6NNah50kiXDXFdBIJ7qdyT2OjLk3JvhnUpJOWXS4V1gDm6LmgQcldOJQG7VPZx_Zbcw3U6sM1iOd0aIuoPAR6FIirYgGr6Wy8Slj8mSR-CoVR_iyn2UUww-dc7h2TG4Lvg9wYmk/s320/Abakee+10+%25282%2529.jpg" width="320" /></a></div>
<div align="center" class="MsoBodyText" style="text-align: center;">
<span style="mso-no-proof: yes;"><br /></span></div>
<div class="MsoBodyText">
If you isolate the patterns in the color units in my
photographs and then compare them to the patterns on the floating dock in the
Glackens’ painting, you will see why I found my visual experience fascinating.</div>
<div class="MsoBodyText">
<br /></div>
<div class="MsoBodyText">
Compare the next Glackens’ detail, with its
repetitions of stripes and bands and lights and darks, with my photographs
above, to see if you agree:</div>
<div class="MsoBodyText">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJwnIArf9a1i_uyT5PcMCLLCpu8xIGpsIBuF8KSaXOsLysQ5A_fhLmFd6y5tr6vvyGII2UAt6Kumwz3el5UywLZPg3S97W1mvBe_Tz6Gme6SfXQdrfBeey1cLjbjL7fM7bue5zOZavA_XQ/s1600/Glackens%252C+The+Raft%252C+1915%252C+Barnes+detail.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJwnIArf9a1i_uyT5PcMCLLCpu8xIGpsIBuF8KSaXOsLysQ5A_fhLmFd6y5tr6vvyGII2UAt6Kumwz3el5UywLZPg3S97W1mvBe_Tz6Gme6SfXQdrfBeey1cLjbjL7fM7bue5zOZavA_XQ/s320/Glackens%252C+The+Raft%252C+1915%252C+Barnes+detail.jpg" width="314" /></a></div>
<div align="center" class="MsoBodyText" style="text-align: center;">
<span style="mso-no-proof: yes;"><br /></span></div>
<div class="MsoBodyText">
Finally, here is a detail from Glackens’ painting <i style="mso-bidi-font-style: normal;">The Bathing Hour, Chester, Nova Scotia</i>,
and my photo of my grandson swimming:</div>
<div class="MsoBodyText">
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<span style="mso-no-proof: yes;"><br /></span></div>
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Granted, the kid is cute, but what attracted me and held
my interest was his shape, color, and movement. Glackens’ color unit floating
across the picture plane, buoyant, fast, and “wet,” not made of flesh and bones,
but of slabs of luminous color units on a flat surface, is art.<span style="mso-spacerun: yes;"> </span>My grandson swimming echoed visual ideas
sparked by the painting.</div>
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Works of art bestow this gift. <span style="mso-spacerun: yes;"> </span>They enable us to see our world through an
artist’s eyes, and this not only enriches our visual experience, it changes
everything. </div>
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That’s why we call it “Informed Perception.”</div>
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Try it.</div>
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Marilyn Baumanhttp://www.blogger.com/profile/09221864675491721708noreply@blogger.com6tag:blogger.com,1999:blog-8720084087539855728.post-22676183132362366972015-05-13T12:09:00.000-07:002015-05-13T12:51:59.912-07:00The Way I See It<!--[if !mso]>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">At the beginning of her essay, “Naïveté,” Violette
de Mazia quoted a Russian proverb: “To a worm in a radish, the radish, <i style="mso-bidi-font-style: normal;">his</i> radish, is the whole world.” (<i style="mso-bidi-font-style: normal;">The Barnes Foundation, Journal of the Art
Department, </i>Autumn, 1976, Vol. VII, No. 2, p. 57)</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Naïveté, she argued, “does not merely indicate a
manner of doing, but embraces personality, attitude, understanding as a whole.”</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">In 1938, Horace Pippin described how he painted
pictures: “The pictures I have already painted come to me in my mind, and if to
me it is a worth while [sic] picture I paint it.<span style="mso-spacerun: yes;"> </span>I go over the picture several times in my
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“Horace Pippin,” in Holger Cahill et. al., <i style="mso-bidi-font-style: normal;">Masters
of Popular Painting: Modern Primitives of Europe and America, </i>MoMA, p. 125).</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">The current exhibit, “Horace Pippin: The Way I See
It,” at the </span><a href="http://www.brandywinemuseum.org/"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Brandywine
River Museum of Art</span></a><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">, presents 65 of his paintings, the
first major retrospective of his work in 20 years.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">One of those paintings, <i style="mso-bidi-font-style: normal;">West Chester, Pennsylvania, </i>I wrote about in </span><a href="http://whylookatart.blogspot.com/2012/08/making-invisible-visible-part-ii.html"><span style="color: blue; font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt; mso-fareast-font-family: Calibri;">Making
the Invisible Visible: Part II</span></a><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt; mso-fareast-font-family: Calibri;">.<span style="mso-spacerun: yes;"> </span></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt; mso-fareast-font-family: Calibri;">This is the painting:</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcvbMU82moaUNbItANIc0iGDqrNCI2U9DDa4SfjvONlACy7AIU5Twan-TVpnspA3pEKalG9pzv0LAkwLBULLGDmwUifdiMYZSBd4KreJTiHq_ugfD_R9emna-ThnyAs-AUnxsQ1a9RvRqF/s1600/Pippin,+West+Chester,+PA+3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="321" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcvbMU82moaUNbItANIc0iGDqrNCI2U9DDa4SfjvONlACy7AIU5Twan-TVpnspA3pEKalG9pzv0LAkwLBULLGDmwUifdiMYZSBd4KreJTiHq_ugfD_R9emna-ThnyAs-AUnxsQ1a9RvRqF/s400/Pippin,+West+Chester,+PA+3.jpg" width="400" /></a></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt; mso-fareast-font-family: Calibri; mso-no-proof: yes;"></span><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt; mso-fareast-font-family: Calibri;"></span></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt; line-height: 115%; mso-fareast-font-family: Calibri;">West Chester, Pennsylvania, </span></i><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt; line-height: 115%; mso-fareast-font-family: Calibri;">1942, Oil on canvas, Wichita Art Museum</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-fareast-font-family: Calibri;">The story goes like
this: </span><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;">A young Ed Loper, a
high school graduate with no art background, trained by the Works Progress
Administration to produce exact watercolor reproductions of early American
antiques, went off one day to watch Horace Pippin work on a painting in West
Chester, PA.<span style="mso-spacerun: yes;"> </span>He stood behind Pippin and
looked at his picture and at the scene Pippin was using as a subject, a block
of row houses near South Adams Street in West Chester.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">As
Ed Loper watched Pippin work, he thought these thoughts: “What is he
doing?<span style="mso-spacerun: yes;"> </span>The road isn’t black. It’s light
tan in the sun. The houses are not flat. They are three-dimensional. Doesn’t he
know anything about perspective?<span style="mso-spacerun: yes;"> </span>Why
does he have all those little flower shapes in the tree? Why did he make some
windows black and some white?”<span style="mso-spacerun: yes;"> </span></span></div>
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<br /></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Pippin
stopped working, turned to Ed, and said: “Ed, you know why I’m great?”<span style="mso-spacerun: yes;"> </span></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">“Why?”<span style="mso-spacerun: yes;"> </span>Ed asked.<span style="mso-spacerun: yes;">
</span></span></div>
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<br /></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Pippin
replied, “Because I paint things exactly the way they are…. I don’t do what
these white guys do.<span style="mso-spacerun: yes;"> </span>I don’t go around
here making up a whole lot of stuff.<span style="mso-spacerun: yes;"> </span>I
paint it exactly the way it is and exactly the way I see it.”</span></div>
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<br /></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Pippin
explained his process to other people as well, thus the title of the current
exhibit.</span></div>
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<br /></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">The
way <i style="mso-bidi-font-style: normal;">I</i> see it, what Pippin said
verifies the following diagram, shared by Violette de Mazia when she taught at
the Barnes Foundation:</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBvwsiUfyg3PkhPEUs_7JYhBwzyv6-25JUCo7f9ER6TL7tbqRdEj4jrp0EYC7Z-dxuESyR626xySnqOQoessKpwFEUCs9FM8azo8RBI_je6MUX7fvUYCPmyS-Unl9I0SMp56lQhpbDvPao/s1600/Chart+on+Subject+Matter+with+Clue.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBvwsiUfyg3PkhPEUs_7JYhBwzyv6-25JUCo7f9ER6TL7tbqRdEj4jrp0EYC7Z-dxuESyR626xySnqOQoessKpwFEUCs9FM8azo8RBI_je6MUX7fvUYCPmyS-Unl9I0SMp56lQhpbDvPao/s400/Chart+on+Subject+Matter+with+Clue.jpg" width="400" /></a></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-no-proof: yes;"></span><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-fareast-font-family: Calibri;">An artist confronts
a subject and feels interested in it.<span style="mso-spacerun: yes;">
</span>The subject acts on him like a catalyst acts on a chemical reaction: it triggers
an insight, the clue.<span style="mso-spacerun: yes;"> </span>This is what
Pippin meant when he said the picture came to him in his mind.<span style="mso-spacerun: yes;"> </span>Pippin may not have needed the subject
directly before him as in <i style="mso-bidi-font-style: normal;">West Chester,
Pennsylvania</i>.<span style="mso-spacerun: yes;"> </span>His painting may have
originated in an experience in WWI, in something he read, in church, in the
Bible, in a room, anywhere or anything at all.<span style="mso-spacerun: yes;">
</span>But what he saw in his head established the clue he needed to make a
painting.<span style="mso-spacerun: yes;"> </span>That clue was a new thing: a
picture idea.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-fareast-font-family: Calibri;">Then he could go to
work inventing the relationships of color, line, light, space, mass, and
pattern to record on a flat surface what he saw in his mind.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-fareast-font-family: Calibri;">When I said in a
previous post an artist, at that first interested look, no longer “sees” his
subject as it “is,” as we would see it, some of you did not understand how this
could be so.<span style="mso-spacerun: yes;"> </span>If you re-read </span><a href="http://whylookatart.blogspot.com/2012/08/what-dreams-may-come.html"><span style="color: blue; font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt; mso-fareast-font-family: Calibri;">What
Dreams May Come</span></a><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt; mso-fareast-font-family: Calibri;">, you will get a detailed description of what I call informed
perception and also my analysis of <i style="mso-bidi-font-style: normal;">West
Chester, Pennsylvania.<span style="mso-spacerun: yes;"> </span></i>If you don’t
feel motivated to visit the current Pippin exhibit, please consider doing so if
only to see this painting.<span style="mso-spacerun: yes;"> </span>Digital
images never do justice to originals, but <i style="mso-bidi-font-style: normal;">West
Chester, Pennsylvania, </i>which I had never seen before except in printed or
digital format, captivated me with its size (</span><span style="font-family: "Times New Roman","serif"; font-size: 10.0pt; line-height: 115%; mso-fareast-font-family: Calibri;">29 3/8 x 36 3/8 in</span><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt; mso-fareast-font-family: Calibri;">.), richness of color, and dramatic light/dark rhythms.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt; mso-fareast-font-family: Calibri;">I digress.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-fareast-font-family: Calibri;">In 1940, Dr. Barnes
argued, “Pippin’s art is distinctly American; its ruggedness, vivid drama,
stark simplicity, picturesqueness and accentuated rhythms, have their
counterparts in the Spirituals of the American Negro…. Pippin’s closest kinship
is perforce with the group of natural, untaught painters to be found in all
periods and in all nations, and to which custom has attached the word
primitive. America, in the early nineteenth century, produced many such
painters, mostly anonymous and a number of them genuine artists endowed with a
high degree of esthetic insight and talent for expression…. It is probably not
too much to say that he is the first important Negro painter to appear on the
American scene.” (Quoted by Richard Wattenmaker in “Horace Pippin,” in <i style="mso-bidi-font-style: normal;">American Paintings and Works on Paper in the
Barnes Foundation, </i>p. 305) </span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-fareast-font-family: Calibri;">What did Pippin
see?<span style="mso-spacerun: yes;"> </span></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-fareast-font-family: Calibri;">His paintings answer
this question.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-fareast-font-family: Calibri;">Violette de Mazia
said his <i style="mso-bidi-font-style: normal;">Christ and the Woman of Samaria </i>has
an intensity of color drama, a stark vividness, a clarity of space, a sense of
naïveté.” (“What to Look for in Art,” <i style="mso-bidi-font-style: normal;">The
Barnes Foundation Journal of the Art Department, </i>Autumn, 1970, Vol. I, No.
2, p. 21.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-fareast-font-family: Calibri;">Examine the painting
below:</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzC_AQtALID1hkIJtnxcHbDyfygLhhz9CzrUTh0IArGol2RffMk5zHzDfG890lPNIix228tqmeGJ3zkBiyuqJTtm0bD47ypteRSWlWu4dqKz2C2JD-sByvJk2_bvfJT3ILYLvab5HVzo51/s1600/Pippin,+Christ+and+the+Woman+of+Samaria,+Barnes.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="322" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzC_AQtALID1hkIJtnxcHbDyfygLhhz9CzrUTh0IArGol2RffMk5zHzDfG890lPNIix228tqmeGJ3zkBiyuqJTtm0bD47ypteRSWlWu4dqKz2C2JD-sByvJk2_bvfJT3ILYLvab5HVzo51/s400/Pippin,+Christ+and+the+Woman+of+Samaria,+Barnes.jpg" width="400" /></a></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-fareast-font-family: Calibri; mso-no-proof: yes;"></span><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-fareast-font-family: Calibri;"></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 10.0pt; line-height: 115%; mso-fareast-font-family: Calibri;">Pippin, <i style="mso-bidi-font-style: normal;">Christ
and the Woman of Samaria, </i>1940, Barnes</span></div>
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<br /></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-fareast-font-family: Calibri;">Richard Wattenmaker
said “the picture shocks by its drama, which is due primarily to Pippin’s
original use of color.<span style="mso-spacerun: yes;"> </span>The intense
gradations of fuchsia and gray in the sky meet dramatically at the horizon with
an intense purplish red against the green-blacks of the foliage.<span style="mso-spacerun: yes;"> </span>The placement of Christ’s crisp, silhouetted
purple cloak, firmly situated as if in a niche between the well and stones and
the dark foliage behind, is a powerful color statement as bold as any color
juxtaposition of Henri Matisse, while the carpet-like effect of the stones in
front of the well, with its fringe of deep green-on-black grass on their
border, is as subtle a color ensemble as any found in the work of Henri
Rousseau.” (“Horace Pippin,” <i style="mso-bidi-font-style: normal;">American
Paintings and Works on Paper in the Barnes Foundation, </i>p. 308)</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-fareast-font-family: Calibri;">Let’s examine one of
Pippin’s paintings in the Barnes Foundation:</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhP1vOoZ41HOqQTmRNV2SJBlZCZ4tKwEDrN4p_3KRXLLXl0h2bXFWDf-sHOameYrTGOFGoxOgWKHDlSK7eNrrEdpwgswYvRb76bf8ZxUviNlHl1bakwKAAsXQHs_JdZKx2XqUxbZ1E6DJlV/s1600/Pippin,+Giving+Thanks,+1942,+Barnes+bf990+(2).jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="288" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhP1vOoZ41HOqQTmRNV2SJBlZCZ4tKwEDrN4p_3KRXLLXl0h2bXFWDf-sHOameYrTGOFGoxOgWKHDlSK7eNrrEdpwgswYvRb76bf8ZxUviNlHl1bakwKAAsXQHs_JdZKx2XqUxbZ1E6DJlV/s400/Pippin,+Giving+Thanks,+1942,+Barnes+bf990+(2).jpg" width="400" /></a></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-fareast-font-family: Calibri; mso-no-proof: yes;"></span><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-fareast-font-family: Calibri;"></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 10.0pt; line-height: 115%; mso-fareast-font-family: Calibri;">Pippin, <i style="mso-bidi-font-style: normal;">Giving
Thanks, </i>1942, Barnes</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-fareast-font-family: Calibri;">Here it is upside
down:</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSHr3fFOCX-wEjBWj60OCyLlKBrWngqBH8QmU8add6knZxKxYAWc1lAMjA4171rr1Ow8B-80uy-0sq8K2qHZsaaUa3QbBIZYH7uxz4biYk9puSK_TdmjCZgvmjw1w5zRJK_XXprysw-5uA/s1600/Pippin,+Giving+Thanks,+1942,+Barnes+bf990+(4).jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="288" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSHr3fFOCX-wEjBWj60OCyLlKBrWngqBH8QmU8add6knZxKxYAWc1lAMjA4171rr1Ow8B-80uy-0sq8K2qHZsaaUa3QbBIZYH7uxz4biYk9puSK_TdmjCZgvmjw1w5zRJK_XXprysw-5uA/s400/Pippin,+Giving+Thanks,+1942,+Barnes+bf990+(4).jpg" width="400" /></a></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-fareast-font-family: Calibri; mso-no-proof: yes;"><br /></span><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-fareast-font-family: Calibri;"></span></div>
<div class="MsoBodyText">
Inverted, a series of bright, vivid, flattened vertical
and gently curved color shapes dramatically contrast with dark, heavy,
horizontal bands.</div>
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<br /></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-fareast-font-family: Calibri;">The stark white of
the man’s shirt, the woman’s apron, the pillows on the bed, the lamp, the ovals
in the floor mat (now on the upper left), the stripes in the rectilinear mat (now
on the upper right), the rim of the bowl, and the cups and saucers on the table
move the eye in-and-out through the picture.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-fareast-font-family: Calibri;">Upside down, it is
easier to see the series of arcs, semi-circles, and rippling units contrasted
with the rigidity of the floorboards, shutters, chair legs, and bedposts.</span></div>
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<br /></div>
<div class="MsoBodyText">
The units of figures at the table and the quilt draped
over the bed reveal the constricted space each color unit occupies.</div>
<div class="MsoBodyText">
<br /></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-fareast-font-family: Calibri;">Examine the
following detail:</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjW_FQCe881i3oNwOx9hiTD5xCf2D4lZLGl3jCHTLiFregDXzf1QVwihYU5EM5bvlpq0pEEkwzHIAo2pt3furCnK_C0Gz30SyKEioMLs1T-cA9SqkQg2XJMYfeIZ0qfR0Rmex60xmkCpH3F/s1600/Pippin,+Giving+Thanks,+detail+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="362" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjW_FQCe881i3oNwOx9hiTD5xCf2D4lZLGl3jCHTLiFregDXzf1QVwihYU5EM5bvlpq0pEEkwzHIAo2pt3furCnK_C0Gz30SyKEioMLs1T-cA9SqkQg2XJMYfeIZ0qfR0Rmex60xmkCpH3F/s400/Pippin,+Giving+Thanks,+detail+2.jpg" width="400" /></a></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-fareast-font-family: Calibri; mso-no-proof: yes;"><br /></span><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-fareast-font-family: Calibri;"></span></div>
<div class="MsoBodyText">
Color patterns of stripes, dots, and bands establish
rhythms of blue-white-tan-black in the man that become red, cerulean, and black
rows of linear dots on the woman’s blouse and gray-black dots on her red headscarf.<span style="mso-spacerun: yes;"> </span>The boy’s cerulean shirt reverses this with
stripes of black dots on red.<span style="mso-spacerun: yes;"> </span>The girl’s
hair and face is a series of dark-brown and tan while her ochre arms bookend a
warm-brown napkin.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"></span>The tablecloth continues the series of
horizontal and vertical cool-blue and orange-red arcs and stripes.</div>
<div class="MsoBodyText">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-fareast-font-family: Calibri;">Now examine this
detail:</span></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVJRhJucWqYANlYBqZoMdTFvuHJitrXbF3rYmbsMPKTHD-rov6pruSiipHrK2VFjJpabZAHQ66UzUsYYcUMiVxu6tWiH0tigwFYEaBn709o7MMkLw4dRQLlIs6T83DID8ifgg951psO5rg/s1600/Pippin,+Giving+Thanks,+detail+1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="362" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVJRhJucWqYANlYBqZoMdTFvuHJitrXbF3rYmbsMPKTHD-rov6pruSiipHrK2VFjJpabZAHQ66UzUsYYcUMiVxu6tWiH0tigwFYEaBn709o7MMkLw4dRQLlIs6T83DID8ifgg951psO5rg/s400/Pippin,+Giving+Thanks,+detail+1.jpg" width="400" /></a></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-fareast-font-family: Calibri; mso-no-proof: yes;"><br /></span><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-fareast-font-family: Calibri;"></span></div>
<div class="MsoBodyText">
The left side of the picture rhythmically varies the theme
of arcs, bands, and dots while, at the same time, introducing a color note of
emerald green.<span style="mso-spacerun: yes;"> </span> </div>
<div class="MsoBodyText">
<br /></div>
<div class="MsoBodyText">
Notice the in-and-out
movement under the bed and the chair.<span style="mso-spacerun: yes;">
</span>Notice the stark brightness of the white fringe and the white diagonal
stripes on the floor mat.<span style="mso-spacerun: yes;"> </span>Notice the
“surprise” of the addition of the green stripe to the white, black, gray, and
red ones.<span style="mso-spacerun: yes;"> </span>Notice the space created by
the boy’s leg, the legs of the chair, and the bowl under the bed.<span style="mso-spacerun: yes;"> </span>Notice the “spaghetti-like” strands of darker
tan patterning the light ochre of the bed frame. Notice the repeated, golden
arcs of the “edge of wicker” chair continuing the dark-light theme. Notice how
all of this is off-set by the vertically rising, dark-brown floor boards and
the brown-black horizontal bulging wall logs.</div>
<br />Examine this detail:<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8dRzM7O6LgWsJz0dcxdrRI8MippLCKBxQ_nEiQFCnr_Lt4M13AH4nW1nuhiyEBSBLA487R2TwmPT7iEyX-ahwNQq2gtzTu39P2M2UqPB3JEObNXeNoWcOeD90BFWOgiTVYOPTlK3MBzUy/s1600/Pippin,+Giving+Thanks,+detail+3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="206" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8dRzM7O6LgWsJz0dcxdrRI8MippLCKBxQ_nEiQFCnr_Lt4M13AH4nW1nuhiyEBSBLA487R2TwmPT7iEyX-ahwNQq2gtzTu39P2M2UqPB3JEObNXeNoWcOeD90BFWOgiTVYOPTlK3MBzUy/s400/Pippin,+Giving+Thanks,+detail+3.jpg" width="400" /></a></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-fareast-font-family: Calibri; mso-no-proof: yes;"><br /></span><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-fareast-font-family: Calibri;"></span></div>
<div class="MsoBodyText">
By including some more color units to the right, you can
see the rhythmic connections between the patchwork of the comforter, with its
rectilinear color units and reversals of dark green on light gold, dark
gray-black on red, and bright red on black, with the units in the floor mat,
the boy’s shirt, and the woman’s blouse. You can also see more easily how the
white units move in-and-out in space.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoBodyText">
<br /></div>
<div class="MsoBodyText">
Judith Stein, in <i style="mso-bidi-font-style: normal;">I
Tell My Heart, The Art of Horace Pippin,</i> the book published in conjunction
with the exhibition organized by the Pennsylvania Academy of the Fine Arts in
1994, quoted Pippin as saying: “Pictures just come to my mind, and I tell my
heart to go ahead.” (p. 2)</div>
<div class="MsoBodyText">
<br /></div>
<div class="MsoBodyText">
The pictures come to his mind.<span style="mso-spacerun: yes;"> </span>He sees what <i style="mso-bidi-font-style: normal;">he</i> sees, and then he makes <i style="mso-bidi-font-style: normal;">his</i>
picture.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoBodyText">
<br /></div>
<div class="MsoBodyText">
All artists do this.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoBodyText">
<br /></div>
<div class="MsoBodyText">
Pippin’s pictures reveal, however, an artist with “intense
conviction, faith, a viewpoint...believed in,…accepted, pursued, with no
concern other than its own dictates,…and imbued with the positive, intrinsic
appeal of its honesty, straightforwardness and…individuality,” Violette de
Mazia said. (“Naïveté,” p. 75)</div>
<div class="MsoBodyText">
<br /></div>
<div class="MsoBodyText">
We, when we appreciate his pictures, learn to enjoy
aspects of our real world.</div>
<div class="MsoBodyText">
For example, today I took a walk through a nearby park,
and I noticed that three Kwanzan flowering cherry trees had dropped most of their
flowers, blanketing the ground under them.<br /><br />Like this:<br />
</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXlVP7zoyoidgQ4Hg3eAuZGKyGHyZu3d36hs36gyTE3NlE4uFyBgipU1o6_mG2RzBSeuDB-pl52tKm7ZOEjLnKMcOaJpVuirINfOjjZ2jng_iAV2A7aUDDOyCMJ5qm7hTzZdBjkyVXsyhW/s1600/Kwanzan+Cherry+Blossoms.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXlVP7zoyoidgQ4Hg3eAuZGKyGHyZu3d36hs36gyTE3NlE4uFyBgipU1o6_mG2RzBSeuDB-pl52tKm7ZOEjLnKMcOaJpVuirINfOjjZ2jng_iAV2A7aUDDOyCMJ5qm7hTzZdBjkyVXsyhW/s400/Kwanzan+Cherry+Blossoms.jpg" width="400" /></a></div>
<div align="center" class="MsoBodyText" style="text-align: center;">
<span style="mso-no-proof: yes;"><br /></span></div>
<div class="MsoBodyText">
I examined the soft puffs of pink, delighted in the
richness of the color, and enjoyed the dark green shoots creating crevices and
projections in the shallow spaces between each flower.</div>
<div class="MsoBodyText">
<br /></div>
<div class="MsoBodyText">
<span style="font-family: Times,"Times New Roman",serif;">Pippin’s painting, </span><i style="mso-bidi-font-style: normal;">Old
King Cotton, </i>educated my vision, and I re-made my world based on his
vision:</div>
<div class="MsoBodyText">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmR9kpkdXDgEKonwKoZ2hJQJMtpiWOQLBhmLvfrV-NK7rgilxy0pC1dWT_9Bj3wgmzpjZy05i-gUTnXamVKKRRpPzQbpWxn2A9RaA4npWn_AiRnNqdJaMqDDksFECiuyZF1rqmHsLKOBfw/s1600/Pippin,+Old+King+Cotten,+1944,+Oil+on+fabric,+Davis+Museum+at+Wellesley+College.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmR9kpkdXDgEKonwKoZ2hJQJMtpiWOQLBhmLvfrV-NK7rgilxy0pC1dWT_9Bj3wgmzpjZy05i-gUTnXamVKKRRpPzQbpWxn2A9RaA4npWn_AiRnNqdJaMqDDksFECiuyZF1rqmHsLKOBfw/s400/Pippin,+Old+King+Cotten,+1944,+Oil+on+fabric,+Davis+Museum+at+Wellesley+College.jpg" width="400" /></a></div>
<div align="center" class="MsoBodyText" style="text-align: center;">
<span style="mso-no-proof: yes;"></span></div>
<div style="text-align: center;">
Pippin, Old King Cotton, 1944, Oil on fabric, Davis Museum at Wellesley College</div>
<br /><span style="font-family: Times,"Times New Roman",serif;"><span style="font-size: small;">That’s the way I see it. </span></span><br />
<span style="font-family: Times,"Times New Roman",serif;"><span style="font-size: small;"><br />And so can you.</span></span>Marilyn Baumanhttp://www.blogger.com/profile/09221864675491721708noreply@blogger.com0tag:blogger.com,1999:blog-8720084087539855728.post-88514231758800366612015-04-10T13:58:00.001-07:002015-04-13T08:07:43.348-07:00To Be or Not to Be Cantankerous<!--[if !mso]>
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<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">This semester I am teaching the traditions in art at
the Osher Lifelong Learning Institute (OLLI) in Wilmington, Delaware.<span style="mso-spacerun: yes;"> </span>I recommended my students purchase Dr. Barnes’
book, <i style="mso-bidi-font-style: normal;">The Art in Painting</i>, especially
if they had not previously enrolled in <i style="mso-bidi-font-style: normal;">Color
Scene Investigations for Art Detectives, </i>my introductory class to the
objective method.</span></div>
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<br /></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">Complaints began immediately.<span style="mso-spacerun: yes;"> </span></span></div>
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<br /></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">“It’s impenetrable,” one said.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">“Impossible to decipher,” said another.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">Over my head, too dense, too argumentative, too
nasty were some others.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">I suggested they read it after the course ended, as
I did, when I studied at the Barnes Foundation in the late 1970’s.<span style="mso-spacerun: yes;"> </span>I told them I not only thought Barnes’ book
was difficult, I found Dewey’s <i style="mso-bidi-font-style: normal;">Art as
Experience </i>impossible to read when I started the classes, but no problem at
all when I completed them. <span style="mso-spacerun: yes;"> </span>I had little background
in art when I enrolled in the Barnes class.<span style="mso-spacerun: yes;">
</span>I could not follow the references to paintings I had never seen and were
not reproduced in the book.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">Remember Thoreau’s words in <i style="mso-bidi-font-style: normal;">Walden, </i>I helpfully advised my students:<span style="mso-spacerun: yes;"> </span>“It is not all books that are as dull as
their readers.”</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">They did not find that helpful at all.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">Neil Rudenstine, in his recent book <i style="mso-bidi-font-style: normal;">The House of Barnes, </i>further eroded my
case.<span style="mso-spacerun: yes;"> </span>He wrote, “Barnes’ theories have
long passed into virtual oblivion, and it is a rare day when anyone consults
his publications.” (p. 21)</span></div>
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<br /></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">Undaunted, in this post, I will once again make my
case for reading Dr. Barnes’ and Violette de Mazia’s books and essays to
appreciate the art in painting.<span style="mso-spacerun: yes;"> </span></span></div>
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<br /></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">Let’s start there: the art in painting.<span style="mso-spacerun: yes;"> </span>Dr. Barnes very clearly defined his interest:
Not the history of art; not the world of art; not art; not the philosophy of art.<span style="mso-spacerun: yes;"> </span>The art in painting.<span style="mso-spacerun: yes;"> </span>Yes, he did argue theories.<span style="mso-spacerun: yes;"> </span>He did his homework of past and current
theories about art, and he rejected those he could not apply to his
interest.<span style="mso-spacerun: yes;"> </span></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">When I teach the objective method to children, I
tell them to read what is on the flat surface called a picture.<span style="mso-spacerun: yes;"> </span>And what is on the flat surface called a
picture are color, line, light, and space, arranged in a certain way, and
expressive of certain qualities. Not trees. Not figures. Not apples.<span style="mso-spacerun: yes;"> </span>In other words, since the medium of painting
is color, I teach them the language of color.<span style="mso-spacerun: yes;">
</span>A six year old can apply the method more easily than an adult, perhaps because a child has not yet been exposed to the headphones, the wall charts, or the
guides in museums telling the stories <i style="mso-bidi-font-style: normal;">represented</i>
in the pictures (See <a href="http://whylookatart.blogspot.com/2010/09/learning-to-see.html">Learning
to See</a>).<span style="mso-spacerun: yes;"> </span></span></div>
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<br /></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">For example, when I showed a group of six-to-ten
year old children this painting by Vermeer, it only took a few seconds for one of them,
a six year old, to grasp the picture’s key idea:</span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlAZ2tI3e7dG0NM1CvPrTffFMa1IONVxy9lrA0Iii7uFBM9uaw4oK4-SlXGF5JuI2bo1MWnkn-otzK9nkOHXApKJt83pyCqt0cG-EynC8LWaej_UUFJultZFDU4ewFvmZg1wYfkZWteRqC/s1600/Vermeer,+View+of+Delft+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlAZ2tI3e7dG0NM1CvPrTffFMa1IONVxy9lrA0Iii7uFBM9uaw4oK4-SlXGF5JuI2bo1MWnkn-otzK9nkOHXApKJt83pyCqt0cG-EynC8LWaej_UUFJultZFDU4ewFvmZg1wYfkZWteRqC/s1600/Vermeer,+View+of+Delft+2.jpg" height="333" width="400" /></a></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="mso-no-proof: yes;"></span><span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;"></span></div>
<div align="center" class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: center;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Vermeer, <i style="mso-bidi-font-style: normal;">View of Delft, </i>c. 1660-61, <span style="mso-tab-count: 1;"> </span>Mauritshuis, The Hague</span></div>
<div align="center" class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: center;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; mso-fareast-font-family: "Times New Roman";">She said, “Everything first goes
across the picture, and then some little shapes go up into those bands.”<span style="mso-spacerun: yes;"> </span>(Click here to read the entire post: <a href="http://whylookatart.blogspot.com/2014/02/dr-barnes-vermeer.html">Dr.
Barnes’ Vermeer</a>)</span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; mso-fareast-font-family: "Times New Roman";">If you read Dr. Barnes analysis of
this painting in <i style="mso-bidi-font-style: normal;">The Art in Painting, </i>he
verifies my student’s perception.<span style="mso-spacerun: yes;"> </span>He
wrote this about pattern in the picture: “A series of horizontal irregular
broad bands, counterbalanced by smaller vertical units, map out the general
framework.” (p. 452) </span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; mso-fareast-font-family: "Times New Roman";">He goes on to say horizontal
elements extend across the picture.<span style="mso-spacerun: yes;"> </span>Starting
at the top, a band of darker clouds and two bands of lighter clouds alternates
with strips of blue.<span style="mso-spacerun: yes;"> </span>The area of
buildings-and-trees follows.<span style="mso-spacerun: yes;"> </span>The canal
and the reflections in it join the triangular bank in the foreground.</span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; mso-fareast-font-family: "Times New Roman";">The clouds, my children noticed,
puff and curl across the sky, and move back in space. The row of
buildings-and-trees moves in and out. The gables, steeples, and towers have
much the same “up-ness” (their word) as the people and posts in the foreground.<span style="mso-spacerun: yes;"> </span>The reflections in the water carry this
vertical pattern to the area of the canal.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; mso-fareast-font-family: "Times New Roman";">The horizontal bands each contrasts
with a subsequent band: the gray-white sky sets off the darker, more solid and
compact blue-red-green shapes in the center.<span style="mso-spacerun: yes;">
</span>These, in turn, contrast with the gray-brown water.<span style="mso-spacerun: yes;"> </span>And the water contrasts with the tan-yellow
bank in the foreground.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; mso-fareast-font-family: "Times New Roman";">What intrigued my students the most
was the “bubbles” or, as Dr. Barnes calls them, “the internal pattern of light
within each color-area, sometimes amounting to a series of superposed spots,
rather than a change of hue.”<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; mso-fareast-font-family: "Times New Roman";">Contrast of light and dark is the
essential characteristic of this landscape as it is in the Dutch
tradition.<span style="mso-spacerun: yes;"> </span>You see this easily in the
contrasting bands, but you need to look more closely to see the remarkable
internal pattern in each area.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; mso-fareast-font-family: "Times New Roman";">I repeat this story because it is
one of major reasons I am so adamant about the value of <i style="mso-bidi-font-style: normal;">The Art in Painting.<span style="mso-spacerun: yes;"> </span></i>Dr.
Barnes may be cantankerous, argumentative, and wordy, but no one surpasses him
in seeing and describing the art in paintings.<span style="mso-spacerun: yes;">
</span>Violette de Mazia is his only equal, and in her 50 years of teaching
after his death, she recorded her perceptions in the <i style="mso-bidi-font-style: normal;">Journal of the Barnes Foundation</i> and <i style="mso-bidi-font-style: normal;">Vistas</i>.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; mso-fareast-font-family: "Times New Roman";">Does this mean what they say about individual
paintings is all there is to say?<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; mso-fareast-font-family: "Times New Roman";">Not at all.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; mso-fareast-font-family: "Times New Roman";">We each will, using objectively
verifiable language, perceive what we, at our level of ability, can see.<span style="mso-spacerun: yes;"> </span>Years later we may see more, or
differently.<span style="mso-spacerun: yes;"> </span>When I attended Penn State
as a 22-year-old graduate student majoring in English literature, my professor
tried valiantly to get my class interested in a passage in <i style="mso-bidi-font-style: normal;">Ulysses</i> by James Joyce.<span style="mso-spacerun: yes;"> </span>We
could not understand it, nor did we care.<span style="mso-spacerun: yes;">
</span>He finally said, “Read it again when you are 40.”<span style="mso-spacerun: yes;"> </span>And when I did, it made sense.<span style="mso-spacerun: yes;"> </span>Life experience helps.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; mso-fareast-font-family: "Times New Roman";">Dr. Barnes understood this, so it is
unfair to complain, as Leo Stein did, that Barnes’ “scale of values points very
clearly in the direction of his own interest” but it would be “a great mistake
on the part of any student to direct his effort towards a similar vision” because
Barnes’ evaluations have “no validity” except in relation to his own experience.
(See Leo Stein, “The Art in Painting,” <i style="mso-bidi-font-style: normal;">The
New Republic, </i>December 2, 1925, pp. 56-57)</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; mso-fareast-font-family: "Times New Roman";">Dr. Barnes knew this.<span style="mso-spacerun: yes;"> </span>In the January 1926, Preface to the First
Edition, he wrote, “It is not presumed that the conclusions reached with regard
to particular paintings are the only ones compatible with the use of the
method: any one of them is of course subject to revision.<span style="mso-spacerun: yes;"> </span>What is claimed is that the method gives
results as objective as possible within any field of aesthetic experience and
that it reduces to a minimum the role of merely personal and arbitrary
preference. Preference will always remain, but its existence is consistent with
a much higher degree of objective judgment than at present prevails.” </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; mso-fareast-font-family: "Times New Roman";">I agree.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; mso-fareast-font-family: "Times New Roman";">Furthermore, in my preparation for
my classes on the Venetian Tradition, I came across what Dr. Barnes wrote about
Titan’s <i style="mso-bidi-font-style: normal;">The</i> <i style="mso-bidi-font-style: normal;">Pastoral Concert.</i></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; mso-fareast-font-family: "Times New Roman";">Here it is:</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiLXSV8Sfgj7AVTLIPrkhn-b1e5Rb3UxFcIT4xXemyB-S9CXlhF7dBqe7Rz9GKTwB5FBA3kXaY5JIa2lH4qeh52hKIRwKkR0yHf9riUf1bopiNgtkdpJwo9MdajHp0dn5fgCmIvzy2abAQ/s1600/Titian,+Concert+in+the+Open+Air,.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiLXSV8Sfgj7AVTLIPrkhn-b1e5Rb3UxFcIT4xXemyB-S9CXlhF7dBqe7Rz9GKTwB5FBA3kXaY5JIa2lH4qeh52hKIRwKkR0yHf9riUf1bopiNgtkdpJwo9MdajHp0dn5fgCmIvzy2abAQ/s1600/Titian,+Concert+in+the+Open+Air,.jpg" height="303" width="400" /></a></div>
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<a href="http://library.artstor.org/library/secure/ViewImages?id=/ThWdC8hIywtPygxFTx5TnQkVn0ufA%3D%3D&source=ppt"><span style="color: windowtext; mso-no-proof: yes; text-decoration: none; text-underline: none;"><span style="mso-ignore: vglayout;"></span></span></a><span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; mso-fareast-font-family: "Times New Roman";"></span></div>
<div align="center" class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: center;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Titian, <i style="mso-bidi-font-style: normal;">The</i> <i style="mso-bidi-font-style: normal;">Pastoral
Concert</i>, 1508-09, oil-canvas, Louvre</span></div>
<div align="center" class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: center;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; mso-fareast-font-family: "Times New Roman";">Dr. Barnes wrote (drum rolls please)
this is “one of the greatest achievements in the history of painting.” (p. 422)</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; mso-fareast-font-family: "Times New Roman";">Does this sound like something Dr.
Barnes would say?<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; mso-fareast-font-family: "Times New Roman";">He goes on to laud the colorful
space, the rhythms of color, line, space, mass, and light, and the mellow,
warm, all-pervasive golden glow that participates in the fluidity of all these
rhythmic relationships.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; mso-fareast-font-family: "Times New Roman";">The composition, he says, is one of
color masses gracefully set and moving in colorful space.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; mso-fareast-font-family: "Times New Roman";">“The charming Arcadian quality, the power,
majesty, peace, splendor, and deep mysticism conveyed, are legitimate values
because the attendant emotions are rationally anchored in the objective
features of the picture,” he concludes.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; mso-fareast-font-family: "Times New Roman";">I saw this analysis for the first
time last week, and I laughed because I did not expect it.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; mso-fareast-font-family: "Times New Roman";">And it is this surprise that, for me
at least, brushes away most of the criticism of Dr. Barnes’ achievement.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; mso-fareast-font-family: "Times New Roman";">He was human, not perfect.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; mso-fareast-font-family: "Times New Roman";">He pioneered an objective method
that could reveal the art in painting. Violette de Mazia developed his
findings, formalized them, and continued his work, as did Angelo Pinto, Harry
Sefarbi, and Barton Church, the Violette de Mazia Foundation and all its
teachers, and many others who have had their lives enriched by Dr. Barnes’
experiment.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
Marilyn Baumanhttp://www.blogger.com/profile/09221864675491721708noreply@blogger.com0tag:blogger.com,1999:blog-8720084087539855728.post-48046124467246485692015-01-28T15:24:00.002-08:002015-01-28T16:01:24.780-08:00The Hobgoblin of Little Minds<span style="font-family: inherit;"><span style="font-size: small;"><br /></span></span>
<span style="font-family: inherit;"><span style="font-size: small;">“A foolish consistency is the hobgoblin of little minds,” Ralph Waldo Emerson said.<br /><br />This statement reassured me as I began to write this post.<br /><br />Here’s why.<br /><br />I read a review in the January 25, 2015 Sunday News Journal of Jamie Wyeth’s retrospective exhibit I first saw at the Museum of Fine Arts, Boston, in December, and then recently visited again at the Brandywine River Museum.<br /><br />In the review, Betsy Price quoted Wyeth saying several things: (1) “He doesn’t enjoy the shows. When he walks through, he says, ‘All the inadequacies jump out at me;’” (2) “He is aware his work is ‘scattered’ stylistically and thematically, ‘almost like a group show;’” (3) “My work is all over the place,…I don’t know if that is a good thing,” Wyeth told her. (p. F3)<br /><br /><span style="font-family: inherit;">I liked him. How could I not. He said what I thought.</span><br /><br />I attended the exhibit at the MFA accompanied by my 4-year-old granddaughter. She enjoyed the “flying” pumpkins, her description of the painting <i>The Headlands of Monhegan Island, Maine</i>:</span></span><!--[if gte mso 9]><xml>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiip6LlvBdpP790oqMjJ7Ge2WbLm6TiW5JW8rRINGtZrF2dD0TKLJmFO7sNsHoXzZKNow16-NRmoWC4EW2lHd8WIHiOSgnn7CeUnA5uPEJMT5HBabKQHHDyEYNgzMUDqsshRF8HXoh_V8ww/s1600/Jamie+Wyeth,+The+Headlands+of+Mohegan+Isladn,+Maine.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiip6LlvBdpP790oqMjJ7Ge2WbLm6TiW5JW8rRINGtZrF2dD0TKLJmFO7sNsHoXzZKNow16-NRmoWC4EW2lHd8WIHiOSgnn7CeUnA5uPEJMT5HBabKQHHDyEYNgzMUDqsshRF8HXoh_V8ww/s1600/Jamie+Wyeth,+The+Headlands+of+Mohegan+Isladn,+Maine.jpg" height="267" width="400" /></a></div>
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<span style="font-size: x-small;">Jamie Wyeth, <i>The
Headlands of Monhegan Island, Maine</i>, 2007, Oil on canvas, 40 x 60 inches.
Wyeth Collection, ©Jamie Wyeth</span></div>
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<br /></div>
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<span style="font-family: inherit;"><span style="font-size: small;">She also enjoyed his paintings
of animals and birds.</span></span></div>
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<span style="font-family: inherit;"><span style="font-size: small;"><br /></span></span></div>
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<span style="font-family: inherit;"><span style="font-size: small;">I felt less impressed. </span></span></div>
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<span style="font-family: inherit;"><span style="font-size: small;">After my MFA visit, I agreed with the review by Sebastian
Smee published in the <i style="mso-bidi-font-style: normal;">Boston Globe: </i>“<span style="color: black; font-family: "Georgia","serif"; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Wyeth, who has just turned 68, can paint. He can
draw. He has lived an interesting and impressive life. But what’s missing from
this show, which covers six decades and is made up of more than 100 oils,
watercolors, drawings, and even a couple of humorous tableaux vivant, is a
sense that it all adds up to something original — something that goes beyond
the frisson of family gossip, the sentimentality of a compelling life story, or
the romance of a storied place.<span style="mso-spacerun: yes;"> </span>Too
often, in place of the deep-down conviction that marks out exceptional artists,
Wyeth gives us an awkward amalgam of capability and whim. It’s not quite
enough.” (July 17, 2014)</span></span></span></div>
<span style="font-family: inherit;"><span style="font-size: small;"></span></span>
<br />
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<span style="font-family: inherit;"><span style="font-size: small;">I said this, one way or
another, to anyone who asked me what I thought.</span></span></div>
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<span style="font-family: inherit;"><span style="font-size: small;"><br /></span></span></div>
<div class="MsoBodyText">
<span style="font-family: inherit;"><span style="font-size: small;">However, when I visited the
exhibit again in Chadds Ford, I felt surprisingly confused and captivated at
the same time.<span style="mso-spacerun: yes;"> </span>Something about some of
the paintings’ qualities of distorted space, drama, power, and luminosity attracted
me.<span style="mso-spacerun: yes;"> </span>Then one painting grabbed me like a
leech and would not let go.</span></span></div>
<div class="MsoBodyText">
<span style="font-family: inherit;"><span style="font-size: small;"><br /></span></span></div>
<div class="MsoBodyText">
<span style="font-family: inherit;"><span style="font-size: small;">That painting, <i style="mso-bidi-font-style: normal;">Sloth, </i>one of the Seven Deadly Sins
series, haunted me, and I knew I had to figure out why.</span></span></div>
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<span style="font-family: inherit;"><span style="font-size: small;"><br /></span></span></div>
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<span style="font-family: inherit;"><span style="font-size: small;">Here it is:</span></span></div>
<div class="MsoBodyText">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6u1Y8iOnr6T87zwpyN_tH1oi3Wt57XxVmqlwiAS99lcGWJS88yBhHQLg25WNe3Akw8JbVglpwzAo_6RqbDCVhv2bwpFy2CiVUNdKvdA1mVXHde_3VmN4CPM7gbhjWRJsesFf2FT1Klz37/s1600/Jamie+Wyeth,+Seven+Deadly+Sins,+Sloth.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6u1Y8iOnr6T87zwpyN_tH1oi3Wt57XxVmqlwiAS99lcGWJS88yBhHQLg25WNe3Akw8JbVglpwzAo_6RqbDCVhv2bwpFy2CiVUNdKvdA1mVXHde_3VmN4CPM7gbhjWRJsesFf2FT1Klz37/s1600/Jamie+Wyeth,+Seven+Deadly+Sins,+Sloth.jpg" height="400" width="282" /></a></div>
<div align="center" class="MsoBodyText" style="text-align: center;">
<span style="font-size: 14.0pt; mso-no-proof: yes;"></span><span style="font-size: 14.0pt;"></span></div>
<div class="MsoBodyText" style="text-align: center;">
<span style="font-size: x-small;">Jamie Wyeth, <i>Sloth
(The Seven Deadly Sins)</i>, 2008, Oil on canvas, Wyeth Collection, ©Jamie
Wyeth</span></div>
<div class="MsoBodyText">
</div>
<div class="MsoBodyText">
<br /></div>
<div class="MsoBodyText">
<span style="font-family: inherit;"><span style="font-size: small;">At this point, I ignored the
“title.”<span style="mso-spacerun: yes;"> </span>I stopped thinking about
everything I had already read.<span style="mso-spacerun: yes;"> </span>The time
had come for me to start seeing for myself whether there was art in this
picture, and if so, describe it.<span style="mso-spacerun: yes;"> </span>If I
changed my mind about Wyeth’s work, so be it.<span style="mso-spacerun: yes;">
</span></span></span></div>
<div class="MsoBodyText">
<span style="font-family: inherit;"><span style="font-size: small;"><br /></span></span></div>
<div class="MsoBodyText">
<span style="font-family: inherit;"><span style="font-size: small;">Memory kicked in, and Titian’s
<i style="mso-bidi-font-style: normal;">The Assumption of the Virgin </i>popped
up<i style="mso-bidi-font-style: normal;">.</i></span></span></div>
<div class="MsoBodyText">
<span style="font-family: inherit;"><span style="font-size: small;"><br /></span></span></div>
<div class="MsoBodyText">
<span style="font-family: inherit;"><span style="font-size: small;">This is it:</span></span></div>
<div class="MsoBodyText">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioHSbJ-AyWSThNWwFRBTuR6dJ7Buj7Tb2fjX_cSgqMGzu7Qqc0ggQcIox_qTxK3ULgsEBOAHipULun06ng6sjMUTlHvrPNai6efieoDiocapkmxzgK3V0y_mYN_y3OVANZi_J_f5_yIjff/s1600/Titian,+Assumption+of+the+Virgin,+1516-1518,+Basilica+di+Santa+Maria+Gloriosa+dei+Frari,+Venice.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioHSbJ-AyWSThNWwFRBTuR6dJ7Buj7Tb2fjX_cSgqMGzu7Qqc0ggQcIox_qTxK3ULgsEBOAHipULun06ng6sjMUTlHvrPNai6efieoDiocapkmxzgK3V0y_mYN_y3OVANZi_J_f5_yIjff/s1600/Titian,+Assumption+of+the+Virgin,+1516-1518,+Basilica+di+Santa+Maria+Gloriosa+dei+Frari,+Venice.jpg" height="400" width="216" /></a></div>
<div align="center" class="MsoBodyText" style="text-align: center;">
<span style="font-size: 14.0pt; mso-no-proof: yes;"></span><span style="font-size: 14.0pt;"></span></div>
<div class="MsoBodyText" style="text-align: center;">
<span style="font-size: 14.0pt;"><span style="mso-tab-count: 1;"> </span></span><span style="font-size: x-small;">Titian, <i>Assumption
of the Virgin, </i>1516-18, Basilica di Santa Maria Gloriosa dei Frari, Venice</span></div>
<div class="MsoBodyText">
</div>
<div class="MsoBodyText">
<br /></div>
<div class="MsoBodyText">
<span style="font-family: inherit;"><span style="font-size: small;">According to Dr. Barnes,
this painting “illustrates a successful solution, on a large scale, of complex
plastic problems.” (<i style="mso-bidi-font-style: normal;">The Art in Painting, </i>p.
429)</span></span></div>
<div class="MsoBodyText">
<span style="font-family: inherit;"><span style="font-size: small;"><br /></span></span></div>
<div class="MsoBodyText">
<span style="font-family: inherit;"><span style="font-size: small;">Notice, Dr. Barnes is
talking about the solution of plastic problems.<span style="mso-spacerun: yes;">
</span>Yes, the painting illustrates the assumption of the Virgin into
Heaven.<span style="mso-spacerun: yes;"> </span>It does so, to go back to
basics, orchestrating light, line, color, and space on a flat surface.</span></span></div>
<div class="MsoBodyText">
<span style="font-family: inherit;"><span style="font-size: small;"><br /></span></span></div>
<div class="MsoBodyText">
<span style="font-family: inherit;"><span style="font-size: small;">In Titian’s painting, Dr.
Barnes argues, “The framework of the composition consists in a grouping of
figures at three different levels.<span style="mso-spacerun: yes;"> </span>Each
group greatly varies from the others in number and character of the masses, in
degree and kind of drama, in compositional form of organization, and in
pattern, color, light, and line.<span style="mso-spacerun: yes;"> </span>These
greatly varied elements, which give a distinctive identity to each group, are
rhythmically related to each other with the result that a continuous and
powerful upward rhythm of plastic units casts a bridge between the separate
groups and integrates the entire design.” </span></span></div>
<div class="MsoBodyText">
<span style="font-family: inherit;"><span style="font-size: small;"><br /></span></span></div>
<div class="MsoBodyText">
<span style="font-family: inherit;"><span style="font-size: small;">I saw connections to
Wyeth’s painting. </span></span></div>
<div class="MsoBodyText">
<span style="font-family: inherit;"><span style="font-size: small;"><br /></span></span></div>
<div class="MsoBodyText">
<span style="font-family: inherit;"><span style="font-size: small;">In <i style="mso-bidi-font-style: normal;">Sloth,</i> the bright, white color unit in the foreground plane
establishes a soft but solid massive base behind which horizontal rippling bands
of black, tan, beige, green, and light blue, recede in space while also ascend
vertically. </span></span></div>
<div class="MsoBodyText">
<span style="font-family: inherit;"><span style="font-size: small;"><br /></span></span></div>
<div class="MsoBodyText">
<span style="font-family: inherit;"><span style="font-size: small;">Here is a cropped enlargement
of that section:</span></span></div>
<div class="MsoBodyText">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6kF_ml4fvGsOZRLhVGPHDGj3Nt9H2TJtJ2HYpi96P4xvEExzWZlyCLo__sdYCzrMf1rF6nl9VQGf-ehhWBHYK4AI7KDZfoxBjUoFbQJRcEwhY9jEnIeTm1rxFPfj4UZlTdogw6nDyuZ4h/s1600/Jamie+Wyeth,+Seven+Deadly+Sins,+Sloth,+detail+3+(2).jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6kF_ml4fvGsOZRLhVGPHDGj3Nt9H2TJtJ2HYpi96P4xvEExzWZlyCLo__sdYCzrMf1rF6nl9VQGf-ehhWBHYK4AI7KDZfoxBjUoFbQJRcEwhY9jEnIeTm1rxFPfj4UZlTdogw6nDyuZ4h/s1600/Jamie+Wyeth,+Seven+Deadly+Sins,+Sloth,+detail+3+(2).jpg" height="222" width="400" /></a></div>
<div align="center" class="MsoBodyText" style="text-align: center;">
<span style="font-size: 14.0pt; mso-no-proof: yes;"></span><span style="font-size: 14.0pt;"></span></div>
<div class="MsoBodyText">
<br /></div>
<div class="MsoBodyText">
<span style="font-family: inherit;"><span style="font-size: small;">Notice the repetition of
arc-shaped lines that both describe “feathers” and continue the rhythmic
theme.<span style="mso-spacerun: yes;"> </span>Notice the two luminous red “bubbles”
under the “bird’s” beak, and their repetitions along the painting’s edge. Notice
the richness of the blacks behind the foreground unit and the contrast of those
blacks with the stunning lightness of the whites, greens, and golds defining
the “bird.” Notice the thick, arc-shaped black band pressed to the “bird’s
chest,” the wide, diagonal, black band projecting forward under his “chest,”
and the wedge-shaped black unit book ended to the “bird’s bottom”—essentially stabilizing
the entire color unit.<span style="mso-spacerun: yes;"> </span>Notice the
flickering, eerie light on the edges of the “bird’s feathers.”<span style="mso-spacerun: yes;"> </span>Notice the crenelated edges of those lighter
“feathers.”<span style="mso-spacerun: yes;"> </span></span></span></div>
<div class="MsoBodyText">
<span style="font-family: inherit;"><span style="font-size: small;"><br /></span></span></div>
<div class="MsoBodyText">
<span style="font-family: inherit;"><span style="font-size: small;">Floating above this
foreground color volume and the rippling bands, a semi-circular cradle holds a
series of overlapping, vertically surging in-and-out movements of arabesque
volumes that rhythmically ascend to the top of the composition while, at the
same time, recede into space.</span></span></div>
<div class="MsoBodyText">
<span style="font-family: inherit;"><span style="font-size: small;"><br /></span></span></div>
<div class="MsoBodyText">
<span style="font-family: inherit;"><span style="font-size: small;">Here is a cropped
enlargement of that section:</span></span></div>
<div class="MsoBodyText">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCXebq27AB6suwuLYd1sxep45DNpHCJAHcfntIg33rRYuoGO08YVHZiV-F3AeosW5ss3BPkS77utjcQiksgLk8x_WgNX88fKTYfoWaopU2cGpuBzJoVi_vscfuD0RmmutEFduXuG9xi-Br/s1600/Jamie+Wyeth,+Seven+Deadly+Sins,+Sloth,+detail+4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCXebq27AB6suwuLYd1sxep45DNpHCJAHcfntIg33rRYuoGO08YVHZiV-F3AeosW5ss3BPkS77utjcQiksgLk8x_WgNX88fKTYfoWaopU2cGpuBzJoVi_vscfuD0RmmutEFduXuG9xi-Br/s1600/Jamie+Wyeth,+Seven+Deadly+Sins,+Sloth,+detail+4.jpg" height="370" width="400" /></a></div>
<div align="center" class="MsoBodyText" style="text-align: center;">
<span style="font-size: 14.0pt; mso-no-proof: yes;"></span><span style="font-size: 14.0pt;"></span></div>
<div align="center" class="MsoBodyText" style="text-align: center;">
<br /></div>
<div class="MsoBodyText">
<span style="font-family: inherit;"><span style="font-size: small;">“Wings” set up a series of
repetitions of dark-black and light-white arabesques with crenelated edges
moving back and front as they also recede into deep space. On the left, right,
and center, nestled in the crowded recesses of the “birds’ heads,” orange,
pink, tan, and green jagged linear ribbons hang in space. The linear ribbons on
the right are further back in space than those in the center or on the left. Jutting
out on the left, a shiny, fleshy, solid “leg” hangs in space consolidating the
warm pinks, reds, browns, and tan curlicue lines into an angled volume.<span style="mso-spacerun: yes;"> </span>This unit links the relatively serene lower
section to the upward tangle of agitated movement above. </span></span></div>
<div class="MsoBodyText">
<span style="font-family: inherit;"><span style="font-size: small;"><br /></span></span></div>
<div class="MsoBodyText">
<span style="font-family: inherit;"><span style="font-size: small;">The entire composition
ultimately does not feel claustrophobic because of the depth of space
orchestrated.<span style="mso-spacerun: yes;"> </span>Examine this detail at the
top right of center:</span></span></div>
<div class="MsoBodyText">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjE4h_H9BjypgM7wUMcDp4-rDWTbo6owXaaKOAqRcPljHaoV3BfxiaanN389U9PlHruuxL2C8wK5hoBoccrbtKlmPU5OVZTGaDH1HzmHr2iTf0B7BBctP1i74Exz8GyikRbkPrcR2lnDuJc/s1600/Jamie+Wyeth,+Seven+Deadly+Sins,+Sloth,+detail+2+(2).jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjE4h_H9BjypgM7wUMcDp4-rDWTbo6owXaaKOAqRcPljHaoV3BfxiaanN389U9PlHruuxL2C8wK5hoBoccrbtKlmPU5OVZTGaDH1HzmHr2iTf0B7BBctP1i74Exz8GyikRbkPrcR2lnDuJc/s1600/Jamie+Wyeth,+Seven+Deadly+Sins,+Sloth,+detail+2+(2).jpg" height="352" width="400" /></a></div>
<div align="center" class="MsoBodyText" style="text-align: center;">
<span style="font-size: 14.0pt; mso-no-proof: yes;"></span><span style="font-size: 14.0pt;"></span></div>
<div align="center" class="MsoBodyText" style="text-align: center;">
<br /></div>
<div class="MsoBodyText">
<span style="font-family: inherit;"><span style="font-size: small;">This small area rhythmically
repeats the theme of the picture: a drama of rich, glowing color volumes
interacting in a series of arabesques moving upwards and in-and-out in deep,
expansive space.<span style="mso-spacerun: yes;"> </span></span></span></div>
<div class="MsoBodyText">
<span style="font-family: inherit;"><span style="font-size: small;"><br /></span></span></div>
<div class="MsoBodyText">
<span style="font-family: inherit;"><span style="font-size: small;">Unlike the Titian, Wyeth’s
picture contrasts immobility with movement, or sloth with energy.<span style="mso-spacerun: yes;"> </span>Like the Titian with its numerous arms, legs,
wings, bodies, heads, and clouds intertwined in all directions, the Wyeth color
units also move backward and decidedly upward.<span style="mso-spacerun: yes;">
</span><span style="mso-spacerun: yes;"> </span></span></span></div>
<div class="MsoBodyText">
<span style="font-family: inherit;"><span style="font-size: small;"><br /></span></span></div>
<div class="MsoBodyText">
<span style="font-family: inherit;"><span style="font-size: small;">Jamie Wyeth’s painting
originates from his life experience as well as his prodigious skill and
talent.<span style="mso-spacerun: yes;"> </span>He knows sea gulls and coastal
Maine.<span style="mso-spacerun: yes;"> </span>He derives his subject facts from
his acute perception of a landscape that speaks to him in the same way as
Titian derived his subject facts from his acute perception of 16<sup>th</sup>
century Venetian pomp, pageantry, and religious fervor.<span style="mso-spacerun: yes;"> </span>In this painting, Wyeth demonstrates his
ability to orchestrate one of the Seven Deadly Sins into a convincing plastic
composition of drama, power, and movement. </span></span></div>
<div class="MsoBodyText">
<span style="font-family: inherit;"><span style="font-size: small;"><br /></span></span></div>
<div class="MsoBodyText">
<span style="font-family: inherit;"><span style="font-size: small;">I do not assume
artist-illustrators lack “deep conviction,” as Smee declared in his <i style="mso-bidi-font-style: normal;">Boston Globe </i>review. <span style="mso-spacerun: yes;"> </span>In this painting, Wyeth’s plastic ideas hark
back to both Bosch and Brueghel.<span style="mso-spacerun: yes;"> </span>Like
Bosch, Wyeth sometimes portrays grotesque scenes, like the “birds” tearing
apart and devouring a “human body” in the center of his composition, a subject
fact less gruesome than many in Bosch’s <i style="mso-bidi-font-style: normal;">Garden
of Earthly Delights </i>or in Brueghel’s <i style="mso-bidi-font-style: normal;">The
Fall of the Rebel Angels:</i></span></span></div>
<div align="center" class="MsoBodyText" style="text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuBx6XjGFf7yJM-se2lEWbEEIPjLeCALhjYj5ChwKCMIJ7qoBm_y9L0MZ1dTrHVh_UIGVUAzZcdWMs3ACM9CfEnkKge4dtLSdGLtOiqG6BmcySMxlYwBJuIYSV2Vyz3QItV_WmjhlXlk7x/s1600/Bosch,+Garden+of+Earthly+Delights+open+(2).jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuBx6XjGFf7yJM-se2lEWbEEIPjLeCALhjYj5ChwKCMIJ7qoBm_y9L0MZ1dTrHVh_UIGVUAzZcdWMs3ACM9CfEnkKge4dtLSdGLtOiqG6BmcySMxlYwBJuIYSV2Vyz3QItV_WmjhlXlk7x/s1600/Bosch,+Garden+of+Earthly+Delights+open+(2).jpg" height="203" width="400" /></a></div>
<div align="center" class="MsoBodyText" style="text-align: center;">
<span style="font-size: 14.0pt; mso-no-proof: yes;"></span><span style="font-size: 14.0pt;"></span></div>
<div align="center" class="MsoBodyText" style="text-align: center;">
<span style="font-size: x-small;">Hieronymus Bosch, <i>Garden of Earthly Delights, </i>c. 1604,
Prado</span></div>
<span style="font-size: x-small;">
</span><br />
<div class="MsoBodyText">
<br /></div>
<div class="MsoBodyText">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYeeGn9l3F8rTIrDazrS4K0-v8ngYHeizX5k9iynuDhc6hs38rPeqzRnArrcdyxyMFDyC0-ByGwcKDk_9JLuxZHbK-U7bA_1ZI1SlBGSGbuFanJCG0fYvdXVcMgqPcUXTxm9lKBRIyyF1D/s1600/Brueghel,+The+Fall+of+the+Rebel+Angels+(2).jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYeeGn9l3F8rTIrDazrS4K0-v8ngYHeizX5k9iynuDhc6hs38rPeqzRnArrcdyxyMFDyC0-ByGwcKDk_9JLuxZHbK-U7bA_1ZI1SlBGSGbuFanJCG0fYvdXVcMgqPcUXTxm9lKBRIyyF1D/s1600/Brueghel,+The+Fall+of+the+Rebel+Angels+(2).jpg" height="290" width="400" /></a></div>
<div align="center" class="MsoBodyText" style="text-align: center;">
<span style="mso-no-proof: yes;"></span><span style="font-size: 14.0pt;"></span></div>
<div align="center" class="MsoBodyText" style="text-align: center;">
<span style="font-size: x-small;">Pieter Brueghel I, <i>The Fall of the Rebel Angels, </i>1562, <span style="color: black; font-family: "Calibri","sans-serif";">Musées royaux des
beaux-arts de Belgique</span></span></div>
<div align="center" class="MsoBodyText" style="text-align: center;">
<br /></div>
<div class="MsoBodyText">
<span style="font-family: inherit;"><span style="font-size: small;">Like those paintings,
Wyeth’s dramatic, powerfully animated composition in which he uses sea gulls as
subject facts to illustrate “sloth,” is as plastically legitimate as Bosch’s and
Brueghel’s weird inventions, not because he does what they did, but because he
orchestrates his actively moving color units into a well-integrated expressive
design.<span style="mso-spacerun: yes;"> </span>Combined with the remarkable
luminosity of his unique color, he gives us something new. </span></span></div>
<div class="MsoBodyText">
<span style="font-family: inherit;"><span style="font-size: small;"><br /></span></span></div>
<div class="MsoBodyText">
<span style="font-family: inherit;"><span style="font-size: small;">“Something new” means we
are appreciating the work of an artist.<span style="mso-spacerun: yes;"> </span></span></span></div>
<div class="MsoBodyText">
<span style="font-family: inherit;"><span style="font-size: small;"><br /></span></span></div>
<div class="MsoBodyText">
<span style="font-family: inherit;"><span style="font-size: small;">Viewers of works of art are
not always consistent in their reactions to, or their judgments of, them.</span></span></div>
<div class="MsoBodyText">
<span style="font-family: inherit;"><span style="font-size: small;"><br /></span></span></div>
<div class="MsoBodyText">
<span style="font-family: inherit;"><span style="font-size: small;">Like artists, art
appreciators learn and absorb new visual information, deepening and enriching
their perceptions.<span style="mso-spacerun: yes;"> </span>Based on their enhanced
sensitivity, they modify their conclusions.<span style="mso-spacerun: yes;">
</span>Ralph Waldo Emerson encouraged this bigness of mind, and I hope that is
as motivating for you as it was for me.<span style="mso-spacerun: yes;"> </span></span></span></div>
<div class="MsoBodyText">
<span style="font-family: inherit;"><span style="font-size: small;"><br /></span></span></div>
<div class="MsoBodyText">
<span style="font-family: inherit;"><span style="font-size: small;"><br /></span></span></div>
<div class="MsoBodyText">
<br /></div>
<div class="MsoBodyText">
<br /></div>
<div class="MsoBodyText">
<br /></div>
<div class="MsoBodyText">
<br /></div>
Marilyn Baumanhttp://www.blogger.com/profile/09221864675491721708noreply@blogger.com2tag:blogger.com,1999:blog-8720084087539855728.post-11143980382822192592014-11-29T07:29:00.000-08:002014-11-29T07:32:01.980-08:00Shut Up and Look<!--[if !mso]>
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<br />
<div class="MsoNormal">
Long ago, when I was a painting student of Edward L. Loper,
Sr., I described to him conflicting feelings I had about my work.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
“One day,” I said, “I love what I am doing, and I think I am
God’s Gift.”<span style="mso-spacerun: yes;"> </span>God’s Gift was a term he often
applied to himself when he was particularly pleased with his work.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
“The next day,” I continued, “I work on the same painting,
and I think it’s terrible, and I am stupid, and I will never paint worth a
damn.”</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
He laughed.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
He told me I was attaching my own variable moods to the
silent object we call a painting, and those moods have nothing to do with the
painting.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
His advice: “Shut-up and paint!”</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In fact, his students heard “Shut-up and paint” so often to
any complaints they made, they designed tee shirts with this instruction on
their front.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1qhS3zeOATv9wDb6e9zxIiZmhaoepPK2pBZxuvyvfL65S8ZtWK3cHUrOpxK2i2174QGA2akZ88UpWvwWVdlkh4v4qwgJ47LGl0yDxCc1yzZUnEN4Rds2q1U5TmXvQwQhnSstBaRE_iq8n/s1600/Shut+Up+Tee+Shirt.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1qhS3zeOATv9wDb6e9zxIiZmhaoepPK2pBZxuvyvfL65S8ZtWK3cHUrOpxK2i2174QGA2akZ88UpWvwWVdlkh4v4qwgJ47LGl0yDxCc1yzZUnEN4Rds2q1U5TmXvQwQhnSstBaRE_iq8n/s1600/Shut+Up+Tee+Shirt.jpg" height="400" width="325" /></a></div>
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<span style="mso-no-proof: yes;"></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I tell you this because recently I visited an exhibit of
Harry Sefarbi’s work, and I fell in love with one of his paintings (see <a href="http://whylookatart.blogspot.com/2010/11/putting-it-together.html">Putting
it Together</a> for a description of Sefarbi’s career and an analysis of the
first painting of his I purchased).<span style="mso-spacerun: yes;"> </span>I
loved it so much, I purchased it, and I waited eagerly for the show to close so
I could bring it home.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
When I finally hung it on my living room wall, and I looked
at it, I thought, “I don’t like this painting.<span style="mso-spacerun: yes;">
</span>Why did I buy it?<span style="mso-spacerun: yes;"> </span>I don’t see
anything in it that makes sense.<span style="mso-spacerun: yes;"> </span>Is that
a window?<span style="mso-spacerun: yes;"> </span>What is the nude woman
holding?<span style="mso-spacerun: yes;"> </span>A baby? A cloth? What is the
man doing?<span style="mso-spacerun: yes;"> </span>Where is he?”</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
This went on not for days, but weeks.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Then I remembered what I had to do:<span style="mso-spacerun: yes;"> </span>Shut up and look.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Here is the painting:</div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLVTixjXgZpjk7yjINuH3cU7cnzsJvzu6us3HzlOWUknbcS6znrgkqRi5-Iqp_9sISSTGQURiQnP4WIP2orK_r4ZHjI_p2fYqV1NTz7dEXux203ajHciWtlHc-NY0xfW3e0-gGH8yMYEs6/s1600/Sefarbi,+Gentleman+Caller,By+the+Sea,+1963.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLVTixjXgZpjk7yjINuH3cU7cnzsJvzu6us3HzlOWUknbcS6znrgkqRi5-Iqp_9sISSTGQURiQnP4WIP2orK_r4ZHjI_p2fYqV1NTz7dEXux203ajHciWtlHc-NY0xfW3e0-gGH8yMYEs6/s1600/Sefarbi,+Gentleman+Caller,By+the+Sea,+1963.jpg" height="265" width="400" /></a></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="mso-no-proof: yes;"></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-size: 10.0pt;">Sefarbi, <i style="mso-bidi-font-style: normal;">Gentleman
Caller: By the Sea</i>, 1963</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
You probably remember, not too long ago, I felt stymied by
another of Sefarbi’s paintings in this same exhibit. (See<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 11.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;"> <a href="http://whylookatart.blogspot.com/2014/10/the-surprise-of-new.html" target="_blank">The Surprise of the New</a></span>).<span style="mso-fareast-font-family: Calibri;"><a href="http://whylookatart.blogspot.com/2014/10/the-surprise-of-new.html"><span style="mso-spacerun: yes;"> </span></a><a href="http://whylookatart.blogspot.com/2014/10/the-surprise-of-new.html"><span style="mso-spacerun: yes;"><br /></span></a></span></div>
<br />
<br />
This time, however, the subject facts coupled with the title muddled my seeing. I looked for the gentleman caller because the title refers to him. I looked for the sea for the same reason. Since the title indicated a relationship between the gentleman caller and the nude woman and both were involved somehow in a seaside setting, I could not get past all this information and see the picture. <br />
<br />
Once I turned the canvas upside down, my work could begin. <br />
<br />
Here it is:<br />
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6ihZCQwFGUhiuHvVBTkODRg1HVCuTLDEV30ko7LdwXqPT6lDTdzQbtfE5I_TY2XMpMWPd4vIrOkPD9wh9gFqR-IoIxPRjGrdU16NTjV1nCLfnTUSYOktZEPUBn3sWPG1e56eDls7OYicA/s1600/Sefarbi,+Gentleman+Caller,By+the+Sea,+1963+(3).jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6ihZCQwFGUhiuHvVBTkODRg1HVCuTLDEV30ko7LdwXqPT6lDTdzQbtfE5I_TY2XMpMWPd4vIrOkPD9wh9gFqR-IoIxPRjGrdU16NTjV1nCLfnTUSYOktZEPUBn3sWPG1e56eDls7OYicA/s1600/Sefarbi,+Gentleman+Caller,By+the+Sea,+1963+(3).jpg" height="265" width="400" /></a></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="mso-fareast-font-family: Calibri; mso-no-proof: yes;"><a href="http://whylookatart.blogspot.com/2014/10/the-surprise-of-new.html"><span style="color: windowtext; text-decoration: none; text-underline: none;"></span><span style="color: windowtext; mso-no-proof: no; text-decoration: none; text-underline: none;"></span></a></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-fareast-font-family: Calibri;">Upside down, a
central trapezoid angled to the right pushes its left side into the frontal
plane of the picture.<span style="mso-spacerun: yes;"> </span>The “peachy” right
edge of the trapezoid recedes as the “light-blue” edge pushes forward.<span style="mso-spacerun: yes;"> </span>Now on the left side of the picture, half of
a triangle pulls to the left while on it two dome-like shapes, one gold and one
pink edged in cerulean, move on an upward angle.<span style="mso-spacerun: yes;"> </span>They join a rich green band that “almost”
slides over the “leg” of the trapezoid, and links to a cool blue and gold band inside
it on the same spatial plane.<span style="mso-spacerun: yes;"> </span>This band
pierces a blue/black mass pointing like a finger in the opposite
direction.<span style="mso-spacerun: yes;"> </span>The entire color unit saying
“sea” slides under the right side of the trapezoid.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-fareast-font-family: Calibri;">Here is that
section cropped and enlarged:</span></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTuI5NgZNt-1Stj8PbJAdnY382Z1oY2SqJFZul35CJEkTQoGIRNBJFDP6UecJnGKb1jtwcIxS5TW-0C_1k_B40M5Ebb9MydmYptNyiS4676t7vqa3pIE3qoXIu3KjL6FS9sODMbBDFCCHt/s1600/Sefarbi,+Gentleman+Caller,By+the+Sea,+1963+(6).jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTuI5NgZNt-1Stj8PbJAdnY382Z1oY2SqJFZul35CJEkTQoGIRNBJFDP6UecJnGKb1jtwcIxS5TW-0C_1k_B40M5Ebb9MydmYptNyiS4676t7vqa3pIE3qoXIu3KjL6FS9sODMbBDFCCHt/s1600/Sefarbi,+Gentleman+Caller,By+the+Sea,+1963+(6).jpg" height="388" width="400" /></a></div>
<span style="mso-fareast-font-family: Calibri;"> </span>
<br />
<div class="MsoNormal">
<span style="mso-fareast-font-family: Calibri;"><br /></span></div>
<div class="MsoNormal">
<span style="mso-fareast-font-family: Calibri;">Now examine
the central trapezoid.<span style="mso-spacerun: yes;"> </span>Within its
borders, a sideways broken triangle of deep greens, cool blues, and blue-blacks
edged by a border of pulled gold bands and dabs separates the internal bottom
light blue trapezoid from the top ochre one.<span style="mso-spacerun: yes;">
</span>The top ochre trapezoid, edged in strips of gold bands contains, on its top
left, a boxy shape of cool blue edged in gold, and the entire unit recedes to
the right.<span style="mso-spacerun: yes;"> </span>The strip of cool blue/green
of that boxy shape immediately connects it to the cool blue-green strips in the
central unit of “sea” that divides the space.<span style="mso-spacerun: yes;">
</span>The bottom blue trapezoid of “sky” neither leans to the right or the
left but simply flattens in the frontal plane. A slightly darker adjacent color
band to the right “leg” of the trapezoid cause the ochre area saying “beach”
and the blue area saying “sky” to recede.<span style="mso-spacerun: yes;">
</span>However, where that color band goes over the blue/black unit, it causes
it to slide behind it.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-fareast-font-family: Calibri;">These are clues,
albeit complicated ones.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-fareast-font-family: Calibri;">Still upside
down, now on the right side, a series of crusty, thick, pulled pinks, oranges,
lavenders, and ochres, layered, angled, and smooth build ovoid volumes: (1) the
“woman’s head” resembles a soft pocket containing ochre slabs; (2) the upper “body,”
like a bowl tilted on its side and seen from above, is balanced on the “neck”
and contains lavender and peach triangles of color; (3) the lower “body”
swerves upward to the right like a Modigliani elongated torso with its arm bent
back. These soft, pulled, rich, sensuously appealing color shapes within their
inverted trapezoid border are held in place by a pointed peachy band that
overlaps the right edge of their border.<span style="mso-spacerun: yes;">
</span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-fareast-font-family: Calibri;">Here is that
section cropped and enlarged:</span></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0OtgT5mzVPvQqOBN59DeKhBbPomXUsm57oLUJFG6CZBpRk13fMp7V8Nza_4rzYOSWb9aNUH5uyeYl1nZNDyPRbypV8HhYrqYqtKi5KsiPon_DJ5m9DV_GUlYkwEuH7KTZ_QaGguyYYsLZ/s1600/Sefarbi,+Gentleman+Caller,By+the+Sea,+1963+(10).jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0OtgT5mzVPvQqOBN59DeKhBbPomXUsm57oLUJFG6CZBpRk13fMp7V8Nza_4rzYOSWb9aNUH5uyeYl1nZNDyPRbypV8HhYrqYqtKi5KsiPon_DJ5m9DV_GUlYkwEuH7KTZ_QaGguyYYsLZ/s1600/Sefarbi,+Gentleman+Caller,By+the+Sea,+1963+(10).jpg" height="400" width="207" /></a></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Upside down, next to the half-triangle on the left, is an
inverted triangle containing a coiled series of diagonal and dramatic zigzag
strokes of orange and yellow bands that spew forth an elongated column-like
series of golds, pinks, and oranges ending with a black dome that pulls to the
right.<span style="mso-spacerun: yes;"> </span>Boxy or triangular, green, thinly
applied color backs this area punctuated by a glowing orange blob.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Here is that section cropped and enlarged:</div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGjMHn824GseHHhJNMJvOdjVR4DIyk0Rl9KPjWfhg7VzKMdc-IuyCWxVIN-0bJiMauBG9gPO2TCO-Ndcdza1BoUniiDB87TbNfCOXyWg4EMIYh0i_sMGXQvNanPWgPerDvLswFlWGd5Dy1/s1600/Sefarbi,+Gentleman+Caller,By+the+Sea,+1963+(7).jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGjMHn824GseHHhJNMJvOdjVR4DIyk0Rl9KPjWfhg7VzKMdc-IuyCWxVIN-0bJiMauBG9gPO2TCO-Ndcdza1BoUniiDB87TbNfCOXyWg4EMIYh0i_sMGXQvNanPWgPerDvLswFlWGd5Dy1/s1600/Sefarbi,+Gentleman+Caller,By+the+Sea,+1963+(7).jpg" height="400" width="280" /></a></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="mso-no-proof: yes;"></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal">
Notice how the rich viridian triangle defining the “man’s
shoulder” as well as the light blue/gray triangle below it moves under the
trapezoid’s edge and emerges as the “sea” within its frame.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
This left side rhythmically repeats the right side by the repetition
of the zigzag orange/gold bands that slide behind the lower “body” of the
“woman,” become “her” hair at the bottom, and echo the seven horizontal red/gold
stripes on “her” right—all sections of the same “towel/rug.”<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Like this:</div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNdFWdIfPKaACD7YwwFgM7-lL-qftA2hXmItRgY6CPcceFqzFETZu0UHFthdbAKOf2BEbCM8N0e9maDQX4bg5awiFffUmtw9gN6qDw0lUDrDDvSdWG-ElW_dPmjQU3QzRfKB5B49Y7KrC8/s1600/Sefarbi,+Gentleman+Caller,By+the+Sea,+1963+(8).jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNdFWdIfPKaACD7YwwFgM7-lL-qftA2hXmItRgY6CPcceFqzFETZu0UHFthdbAKOf2BEbCM8N0e9maDQX4bg5awiFffUmtw9gN6qDw0lUDrDDvSdWG-ElW_dPmjQU3QzRfKB5B49Y7KrC8/s1600/Sefarbi,+Gentleman+Caller,By+the+Sea,+1963+(8).jpg" height="400" width="212" /></a></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="mso-no-proof: yes;"></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Confused?</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Let’s look at it right side up again:</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLVTixjXgZpjk7yjINuH3cU7cnzsJvzu6us3HzlOWUknbcS6znrgkqRi5-Iqp_9sISSTGQURiQnP4WIP2orK_r4ZHjI_p2fYqV1NTz7dEXux203ajHciWtlHc-NY0xfW3e0-gGH8yMYEs6/s1600/Sefarbi,+Gentleman+Caller,By+the+Sea,+1963.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLVTixjXgZpjk7yjINuH3cU7cnzsJvzu6us3HzlOWUknbcS6znrgkqRi5-Iqp_9sISSTGQURiQnP4WIP2orK_r4ZHjI_p2fYqV1NTz7dEXux203ajHciWtlHc-NY0xfW3e0-gGH8yMYEs6/s1600/Sefarbi,+Gentleman+Caller,By+the+Sea,+1963.jpg" height="265" width="400" /></a></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Bill Perthes, in an essay titled <span style="mso-spacerun: yes;"> </span>“<a href="http://www.harrysefarbipaintings.com/sefarbi-essay-by-wm-perthes.html">Harry
Sefarbi: Artist and Teacher</a>,” wrote:<span style="mso-spacerun: yes;">
</span>“Each picture is an opportunity for discovery. Nonetheless, no matter
what he painted, his work is rooted in color: color directly applied, usually
with discernable brushstrokes; color that is intermixed, whether applied
wet-on-wet, scumbled, color-chorded, or glazed, creating variety in depth,
richness, and texture; limited picture space, often narrow or shallow, yet
which rarely feels cramped or confining; a sense of light inseparable from
color itself with little need for a directional light source; shallow volumes
of structural color – color that forms dimensionality independent of
light/shadow modeling – even when color is thinly applied or translucent; and a
unfailing sense of wit and humor whether in the subjects he chose – a small man
in a dark suit and tie perched atop the shoulders of a large seated redheaded
woman in a bright red dress – or through the means used to construct a subject
– small interlocking compartments of solid to semi-opaque rich, luminous reds
set off by contrasting acidic green color lines. Neither the subject itself nor
the colors used to create it are conventional. All the same, each supports the
other creating a humorous, unexpected effect.”</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Once I got this far, I started to see other connections.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
For example, I remembered the Ghent Altarpiece:</div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhX5OnMs5kiIN3DnRTjLTzb7toEmjGWy6hpE5AP0_uKRjId8u36_dEQm60Hg9DbEpFTaNO4iGSIbNK0vEK2mEoHFxPq5XYsoI9ByoFhgXCNKZct_mouGq3Of2f8LLrtjwxFEPBjP37lxqlX/s1600/Ghent+Altarpiece.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhX5OnMs5kiIN3DnRTjLTzb7toEmjGWy6hpE5AP0_uKRjId8u36_dEQm60Hg9DbEpFTaNO4iGSIbNK0vEK2mEoHFxPq5XYsoI9ByoFhgXCNKZct_mouGq3Of2f8LLrtjwxFEPBjP37lxqlX/s1600/Ghent+Altarpiece.jpg" height="283" width="400" /></a></div>
<div class="MsoNormal">
<span style="mso-no-proof: yes;"></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-size: 10.0pt;">Van Eyck, <i>Ghent Altarpiece, </i>1432<br style="mso-special-character: line-break;" />
<br style="mso-special-character: line-break;" />
</span></div>
<div class="MsoNormal">
Notice the greens and reds for starters.<span style="mso-spacerun: yes;"> </span>Then notice the geometric compartments within
which the “stories” unfold.<span style="mso-spacerun: yes;"> </span>Then notice
the sizes of the figures, particularly the nude figures on the left and the
right in comparison to all the other figures.<span style="mso-spacerun: yes;">
</span>Pay special attention to Eve and her very round belly. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Similar features define the following Flemish painting:<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLgEvL_GqlGbyaHcaKP_ZIgDELfzdToDc13f5-TveFu1sfbTB8y_xPoUd7D7g4VSlJnvaGyz3a6fyyb0jHE89fpGToJnkYa6KgyTeRyNv0KrE22rwar8BCEGDUs_FgL8kOeWj2Iq1oXKK_/s1600/Campin,+The+Annunciation+Triptych.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLgEvL_GqlGbyaHcaKP_ZIgDELfzdToDc13f5-TveFu1sfbTB8y_xPoUd7D7g4VSlJnvaGyz3a6fyyb0jHE89fpGToJnkYa6KgyTeRyNv0KrE22rwar8BCEGDUs_FgL8kOeWj2Iq1oXKK_/s1600/Campin,+The+Annunciation+Triptych.jpg" height="200" width="400" /></a></div>
<div class="MsoNormal">
<span style="mso-no-proof: yes;"></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-size: 10.0pt;">Master of Flemalle, <span style="mso-spacerun: yes;"> </span>Robert Campin, <span style="mso-spacerun: yes;"> </span><i>The Annunciation Triptych, <span style="mso-spacerun: yes;"> </span></i>1425, The Cloisters, Met</span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal">
<span style="mso-bidi-font-size: 12.0pt;">This triptych provides
clues to Sefarbi’s painting: a large kneeling figure in the left panel, the
donor, looks into a room from outside; while space is shallow and compressed in
the left panel, it opens into a relatively deeper space in the central panel;
the third panel includes a “window” device opening up an even deeper space
recession.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-bidi-font-size: 12.0pt;">In both the van Eyck
and the Campin paintings, however, the compartments in them enclose the
“stories” within them.<span style="mso-spacerun: yes;"> </span>Sefarbi’s
compartments don’t.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-bidi-font-size: 12.0pt;">How, then, I
wondered, do I reconcile the subject facts in Sefarbi’s painting with the
qualities expressed?<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I reexamined the Sefarbi painting.</div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLVTixjXgZpjk7yjINuH3cU7cnzsJvzu6us3HzlOWUknbcS6znrgkqRi5-Iqp_9sISSTGQURiQnP4WIP2orK_r4ZHjI_p2fYqV1NTz7dEXux203ajHciWtlHc-NY0xfW3e0-gGH8yMYEs6/s1600/Sefarbi,+Gentleman+Caller,By+the+Sea,+1963.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLVTixjXgZpjk7yjINuH3cU7cnzsJvzu6us3HzlOWUknbcS6znrgkqRi5-Iqp_9sISSTGQURiQnP4WIP2orK_r4ZHjI_p2fYqV1NTz7dEXux203ajHciWtlHc-NY0xfW3e0-gGH8yMYEs6/s1600/Sefarbi,+Gentleman+Caller,By+the+Sea,+1963.jpg" height="265" width="400" /></a></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="mso-no-proof: yes;"></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal">
In all of Sefarbi’s work, the “gentleman” theme usually
involves courtship or rendezvous.<span style="mso-spacerun: yes;"> </span>He
often is dressed in a jacket and tie and wears a hat.<span style="mso-spacerun: yes;"> </span>He often seems to be arriving or waiting.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In this picture, he emerges like a “Jack in a Box” above a
coiled spring.<span style="mso-spacerun: yes;"> </span>His post-like neck and
head paste to his deep viridian jacket and are topped by a “hat,” part blackish
dome pointing to the left and part green brim connecting to the shoreline out
the trapezoid “window” to the left and the rocky shoreline pushing forward on
the sliced inverted triangle to the right.<span style="mso-spacerun: yes;">
</span>The “gentleman” figure is tucked in a shallow space behind the zigzag
spring-like “carpet” or “beach towel,” the “shoreline,” and the washy
cool-green triangle behind him, neither inside nor outside, but both.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Like a voyeur, he watches the “nude woman.” </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Examine his “head”:</div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsJ8t_K17Ky-SYDEmTtjrvybz3Pi47albaDSRnhQoS4rp_nfs89NXWPUYdoPYnnF2xkFy8k81UJkujhrCfXJy7GWWXSYUaXZiDJGNgC3a37CJgbn4SjgY7z6qujip_Vd4UHPSGFZ9xTXY6/s1600/Sefarbi,+Gentleman+Caller,By+the+Sea,+1963+(4).jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsJ8t_K17Ky-SYDEmTtjrvybz3Pi47albaDSRnhQoS4rp_nfs89NXWPUYdoPYnnF2xkFy8k81UJkujhrCfXJy7GWWXSYUaXZiDJGNgC3a37CJgbn4SjgY7z6qujip_Vd4UHPSGFZ9xTXY6/s1600/Sefarbi,+Gentleman+Caller,By+the+Sea,+1963+(4).jpg" height="400" width="266" /></a></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="mso-no-proof: yes;"></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal">
Dabs of glowing red/orange indicate nose and mouth; pink
strips indicate eye and cheek; squiggles of light tan suggest a beard; a
glowing dab of red/orange a boutonniere.<span style="mso-spacerun: yes;">
</span>Ultimately, however, each color dab or line or squiggle moves slightly
forward in a confined space.<span style="mso-spacerun: yes;"> </span>His “neck,”
“head,” and “hat,” are rimmed in gold, echoing the gold scumbled paint of the
“rug/towel,” and the “coastline.”</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
On the left side, the “red-headed, nude woman,” her back to
him, stands in front of a “mirror.”</div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQAc1UwpqcPiI1goN8DNAmoWj4-2MXUcD-YMCsMbpMwV6FINlqT54kbb5Uzbb-fQdS4eXVvngjnGBUNPvhl4FvkAf_rZs146a5-bUHO5BSOicI4TXDMwo8PLYhT0IcjbnpC-O-HY4ux8FY/s1600/Sefarbi,+Gentleman+Caller,By+the+Sea,+1963+(5).jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQAc1UwpqcPiI1goN8DNAmoWj4-2MXUcD-YMCsMbpMwV6FINlqT54kbb5Uzbb-fQdS4eXVvngjnGBUNPvhl4FvkAf_rZs146a5-bUHO5BSOicI4TXDMwo8PLYhT0IcjbnpC-O-HY4ux8FY/s1600/Sefarbi,+Gentleman+Caller,By+the+Sea,+1963+(5).jpg" height="400" width="191" /></a></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="mso-no-proof: yes;"></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal">
Notice the zigzag pattern of her “body.”<span style="mso-spacerun: yes;"> </span>Notice the projecting angled “belly.”<span style="mso-spacerun: yes;"> </span>Notice the horizontally “slashed” pulled
color suggesting facial features.<span style="mso-spacerun: yes;"> </span>Notice
how longer, diagonally “slashed” pulled color define the arm, the flattened buttock,
and the leg.<span style="mso-spacerun: yes;"> </span>Notice how the entire color
shape fills the space in which it is set, with space receding to the left washy
cool blue-green rectangle of “window,” the seven red/gold bands continuing the
“rug/towel” pattern below it, the deep green to its right, and the zigzag
red/ochre bands to its bottom right.<span style="mso-spacerun: yes;"> </span>The
“nude woman,” filling the left side of the picture space, pushes forward in
space at the same time the “gentleman caller” literally pops up, smaller, and
tucked back in space, like Poseidon emerging from the sea.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Except—“he” is both emerging from the sea and in the “room” as
well.<span style="mso-spacerun: yes;"> </span>Except—the green “wall” behind the
“woman” also backs “him.”<span style="mso-spacerun: yes;"> </span>Except—at the
same time, the far bank of the “sea” also runs behind him and emerges at the
top of the far right inverted triangle.<span style="mso-spacerun: yes;">
</span>Except—that inverted triangle is on the same spatial plane as the brown
interior “floor” covered with the decorative zigzag “towel” or “rug.”</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
At this point, my adventure felt challenging and revealing.<span style="mso-spacerun: yes;"> </span>And I was laughing. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Sefarbi’s painting moved me aesthetically on many fronts: an
ingenious play on traditions; the unique appeal of his color; the intricacy of
spatial relationships; an unnerving disregard for the expected: inside and
outside juxtaposed to create rhythmic connections; subject facts contorted to
amuse, not shock.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
What’s the visual idea? </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
If Sefarbi titled this painting “Zigzag Ribbons of Luminous Color
in Unexpected Spaces” or “Swinging Spaces” would it change anything?<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>How
about “Homage to Magritte: This is Not a Woman, a Man, or a View of the
Sea”?<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Now that I look at the painting again, I am leaning toward
“Swinging Spaces.”<span style="mso-spacerun: yes;"> </span>Look at it again, and
notice how the “swing shaped” central trapezoid causes the “woman” on the left to
push forward in a deep space while the “man” on the right slides backwards in a
shallow space, and the inverted triangle on the right and the edges of the
“mirror” on the left frame and contain both sides.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLVTixjXgZpjk7yjINuH3cU7cnzsJvzu6us3HzlOWUknbcS6znrgkqRi5-Iqp_9sISSTGQURiQnP4WIP2orK_r4ZHjI_p2fYqV1NTz7dEXux203ajHciWtlHc-NY0xfW3e0-gGH8yMYEs6/s1600/Sefarbi,+Gentleman+Caller,By+the+Sea,+1963.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLVTixjXgZpjk7yjINuH3cU7cnzsJvzu6us3HzlOWUknbcS6znrgkqRi5-Iqp_9sISSTGQURiQnP4WIP2orK_r4ZHjI_p2fYqV1NTz7dEXux203ajHciWtlHc-NY0xfW3e0-gGH8yMYEs6/s1600/Sefarbi,+Gentleman+Caller,By+the+Sea,+1963.jpg" height="265" width="400" /></a></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="mso-no-proof: yes;"></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Try this.<span style="mso-spacerun: yes;"> </span>Send me
your suggested titles, and I will make a list and email it to you.<span style="mso-spacerun: yes;"> </span>Click here to send me an email:<span style="mso-spacerun: yes;"> </span><a href="mailto:marilynbauman68@gmail.com">Marilyn’s
email</a>.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
My aesthetic adventure proceeded the way objective discovery
always does, slowly, <span style="mso-spacerun: yes;"> </span>guided by my
interest, the clues in the picture, and the tools I employed to facilitate the work.<span style="mso-spacerun: yes;"> </span>I “played” the aesthetic appreciation game,
and I experienced the visual impact of this painting as best I could.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I hope you do too.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Sefarbi’s rules of engagement are direct and simple.<span style="mso-spacerun: yes;"> </span>At the conclusion of his essay “The Clue to
Klee,” he wrote, “You must investigate the traditions, and sharpen your
perception. Or you can’t play.” (in <i style="mso-bidi-font-style: normal;">The
Barnes Foundation Journal of the Art Department</i>, <span style="mso-spacerun: yes;"> </span>Spring 1972, Vol. III, No. 1, p. 42)</div>
Marilyn Baumanhttp://www.blogger.com/profile/09221864675491721708noreply@blogger.com0tag:blogger.com,1999:blog-8720084087539855728.post-44007312390031500902014-10-12T13:36:00.000-07:002014-10-12T13:40:05.246-07:00The Surprise of the New<!--[if !mso]>
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<br />
<div align="center" class="MsoNormal" style="text-align: center;">
</div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal">
Recently, I attended a talk about the traditions in Harry
Sefarbi’s work given by the Violette de Mazia Foundation’s Director of
Education Bill Perthes.<span style="mso-spacerun: yes;"> </span>The <a href="http://www.wayneart.org/">Wayne Art Center</a> currently has Sefarbi’s
work on exhibit, and Bill provided a thorough, interesting, and informative
look at several of the paintings on display to illustrate how, as he put it, “Qualities
and elements from the great traditions of painting unconsciously found their
way back into [Sefarbi’s] pictures, reimagined and reinvented.” (See “Harry
Sefarbi: Artist and Teacher,” by clicking here:<span style="mso-spacerun: yes;">
</span><a href="http://harrysefarbipaintings.com/sefarbi-essay-by-wm-perthes.html">Harry
Sefarbi</a>). </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
At some point between the talk and the next morning, I
connected the Maurice Prendergast class I will teach at the Osher Lifelong
Learning Institute in several days and what Bill said about stacked space in
Sefarbi’s and Prendergast’s work.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Here is the Prendergast painting:</div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFBKfD_dysy3DF2ambDorqzHMWjMR9ebuKQ3O3yELfncEm-R7WDFEtTKKhAx8fJQq816CNC6mT-RQ7jqiTQ18N0LBGblZTI4hyLkqLuVsrVT8gatL2OSzZ5l1E-vtCYb4HCrVjE7XFsASF/s1600/Maurice+Prendergast,+Central+Park,+1914-15,+Met.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFBKfD_dysy3DF2ambDorqzHMWjMR9ebuKQ3O3yELfncEm-R7WDFEtTKKhAx8fJQq816CNC6mT-RQ7jqiTQ18N0LBGblZTI4hyLkqLuVsrVT8gatL2OSzZ5l1E-vtCYb4HCrVjE7XFsASF/s1600/Maurice+Prendergast,+Central+Park,+1914-15,+Met.jpg" height="313" width="400" /></a></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="mso-no-proof: yes;"></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
Maurice Prendergast, <i>Central
Park, </i>c. 1914-15, Met</div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal">
Here is the Sefarbi painting in the exhibit:</div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidGw714ZqBnguHYW5M7JV-cbNRLDEDNyQQGs_OGNzE6JKYbrTpEZ5wekVqBCQd79MdFIXqQx7GujhhLF-ALYpR627nKVyKUR90e5tFoTMbE3sVfArQ9ufxb81nGHo3x1BlK0Fo2YPbM1Vr/s1600/Sefarbi,+Untitled+1,+2007.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidGw714ZqBnguHYW5M7JV-cbNRLDEDNyQQGs_OGNzE6JKYbrTpEZ5wekVqBCQd79MdFIXqQx7GujhhLF-ALYpR627nKVyKUR90e5tFoTMbE3sVfArQ9ufxb81nGHo3x1BlK0Fo2YPbM1Vr/s1600/Sefarbi,+Untitled+1,+2007.jpg" height="396" width="400" /></a></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="mso-no-proof: yes;"></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
Sefarbi, <i>Untitled
1, </i>2007, Oil on panel</div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal">
Now the hard work began, and since I have been writing about
how hard it can be and how time consuming it is to uncover the art in a
painting, I wondered why I felt both excited to do it and afraid to do it in
equal measure.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Those conflicted feelings accompany this work, but I forge
ahead because I learn new ways of seeing, or what I have called Informed
Perception, and what Violette de Mazia called Learning to See.<span style="mso-spacerun: yes;"> </span>Quite literally, paintings teach me to
perceive ordinary, everyday visual experience in new and interesting ways.<span style="mso-spacerun: yes;"> </span>Paintings educate my vision.<span style="mso-spacerun: yes;"> </span>In my previous post (<a href="http://whylookatart.blogspot.com/2014/08/re-molding-visual-reality-to-our-hearts.html"><span style="color: blue; mso-fareast-font-family: Calibri;">Re-molding Visual Reality to
Our Heart’s Desire</span></a><span style="mso-fareast-font-family: Calibri;">),
Dr. Barnes described his experience this way: “paintings stretch to the
beholder’s personal vision which they progressively develop.”<span style="mso-spacerun: yes;"> </span>In other words, we see more in paintings if
our personal vision increases, and our personal vision increases because we see
more in the works of art.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-fareast-font-family: Calibri;">Let’s look at
the Prendergast first:</span></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFBKfD_dysy3DF2ambDorqzHMWjMR9ebuKQ3O3yELfncEm-R7WDFEtTKKhAx8fJQq816CNC6mT-RQ7jqiTQ18N0LBGblZTI4hyLkqLuVsrVT8gatL2OSzZ5l1E-vtCYb4HCrVjE7XFsASF/s1600/Maurice+Prendergast,+Central+Park,+1914-15,+Met.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFBKfD_dysy3DF2ambDorqzHMWjMR9ebuKQ3O3yELfncEm-R7WDFEtTKKhAx8fJQq816CNC6mT-RQ7jqiTQ18N0LBGblZTI4hyLkqLuVsrVT8gatL2OSzZ5l1E-vtCYb4HCrVjE7XFsASF/s1600/Maurice+Prendergast,+Central+Park,+1914-15,+Met.jpg" height="313" width="400" /></a></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Horizontal bands interwoven with vertical curvilinear rich
color shapes provide the framework for a crowded orchestration of in and out
movement in shallow space.<span style="mso-spacerun: yes;"> </span>The lower,
narrow, green band, followed by the wider, creamy white one, followed by the
wider still yellow-green band, culminates in the barely visible blue-white
band.<span style="mso-spacerun: yes;"> </span>The vertical units seem pasted to
each background band, but the figures, horses, tree trunks, and buggy wheels
move forward enough to act as repoussoir units creating a slight depth of
space.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The canopy of foliage at the top, constructed of small,
rectilinear dabs of overlapping color units assist the space recession of the carriages,
horses, and figures peeking through the pockets of space divided by the purple
tree trunks.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
If you have trouble seeing this, examine this detail:</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhV7abY9I06Ucu0wWdVvxrYeAhaVXNE4mkgiMPykoU2IqEHz_-_Drol5EbtvplWyPByf2luxjSSsHCuANqpXK44HxYYv-2X6G8zgWxsH0J9MwTntZ7url7kReylC5WNbHeTr4IGkEs74Unc/s1600/Maurice+Prendergast,+Central+Park,+1914-15,+Met,+cropped+(3).jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhV7abY9I06Ucu0wWdVvxrYeAhaVXNE4mkgiMPykoU2IqEHz_-_Drol5EbtvplWyPByf2luxjSSsHCuANqpXK44HxYYv-2X6G8zgWxsH0J9MwTntZ7url7kReylC5WNbHeTr4IGkEs74Unc/s1600/Maurice+Prendergast,+Central+Park,+1914-15,+Met,+cropped+(3).jpg" height="82" width="400" /></a></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="mso-no-proof: yes;"></span></div>
<div class="MsoNormal">
</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Now examine this detail of the lower section of the
painting:</div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIPWhh_3EGWikGKFSdHeQVu9lwoASJS63SK07QbfJdzcVKRejfJZAz2dxvmJU4oqASVFTrIrTktr41vzvkUp_ynP9BWSeZN8v9ST5zkFmUmEgX3ihyHuVajZokpaR_pRARgnfOrGtX0Mph/s1600/Maurice+Prendergast,+Central+Park,+1914-15,+Met+(2).jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIPWhh_3EGWikGKFSdHeQVu9lwoASJS63SK07QbfJdzcVKRejfJZAz2dxvmJU4oqASVFTrIrTktr41vzvkUp_ynP9BWSeZN8v9ST5zkFmUmEgX3ihyHuVajZokpaR_pRARgnfOrGtX0Mph/s1600/Maurice+Prendergast,+Central+Park,+1914-15,+Met+(2).jpg" height="162" width="400" /></a></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="mso-no-proof: yes;"></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Figures, horses, and carriages are set in multiple
positions: figures walk both left and right, stand, sit, and ride in carriages;
horses move from right to left then turn slightly upwards at the left of the
canvas as another horse and rider enters and moves to the right.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In one color unit, the lines demarcating the bench slats run
over the figure giving it a vaporous quality.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
A variety of line binds and sets off each color unit.<span style="mso-spacerun: yes;"> </span>In places, it is thin and broken; in other
places, it is wide and sinewy.<span style="mso-spacerun: yes;"> </span>In all
cases, the line rhythmically continues and enhances this painting’s theme: a
curvilinear procession of glowing, vivid, color units moving through a stacked
backdrop of banded shallow space that expresses the pageantry of New Yorkers
enjoying Central Park on a sunny day.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Did you catch that phrase: stacked backdrop?<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Now look at Sefarbi’s painting:</div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidGw714ZqBnguHYW5M7JV-cbNRLDEDNyQQGs_OGNzE6JKYbrTpEZ5wekVqBCQd79MdFIXqQx7GujhhLF-ALYpR627nKVyKUR90e5tFoTMbE3sVfArQ9ufxb81nGHo3x1BlK0Fo2YPbM1Vr/s1600/Sefarbi,+Untitled+1,+2007.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidGw714ZqBnguHYW5M7JV-cbNRLDEDNyQQGs_OGNzE6JKYbrTpEZ5wekVqBCQd79MdFIXqQx7GujhhLF-ALYpR627nKVyKUR90e5tFoTMbE3sVfArQ9ufxb81nGHo3x1BlK0Fo2YPbM1Vr/s1600/Sefarbi,+Untitled+1,+2007.jpg" height="396" width="400" /></a></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="mso-no-proof: yes;"></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
</div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal">
In this picture, seven stacked horizontal bands set off
groupings of vertical, flattened, sometimes elongated and sometimes boxy, muted
color shapes seemingly pasted to a band, slipped into it, or bobbing in front
of it.<span style="mso-spacerun: yes;"> </span>The top band suggesting gray sky,
and the rippling sallow green band suggesting the ocean, set off tiny “pebbly” blobs
of peachy ochre interspersed with touches of red and cerulean blue suggesting
people cavorting in the surf.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Here is a detail of the top bands:</div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJBveHx0p4RnNw1kEicHYSlX_czMa6vA7Og7qMAN4_rTL3kVfbiCJc21Tzl8Yh9lcBTTnfAmXDlEApNHzR3MMZkFyB5jvhzUKZzE2xx3gzeOsFBALODYBA6Bnrfoc-sWhA4JgkSMSa2igI/s1600/Sefarbi,+Untitled+1,+2007,+top+(3).jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJBveHx0p4RnNw1kEicHYSlX_czMa6vA7Og7qMAN4_rTL3kVfbiCJc21Tzl8Yh9lcBTTnfAmXDlEApNHzR3MMZkFyB5jvhzUKZzE2xx3gzeOsFBALODYBA6Bnrfoc-sWhA4JgkSMSa2igI/s1600/Sefarbi,+Untitled+1,+2007,+top+(3).jpg" height="37" width="400" /></a></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="mso-no-proof: yes;"></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Sefarbi’s deft touches of tiny dabs of peachy ochre fully
express the frolicking movement of individual people and small groups of
people, an expressively decorative essence of a sunny day at the beach.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
That said, what do you make of the band to the left?</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Here is the painting again:</div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidGw714ZqBnguHYW5M7JV-cbNRLDEDNyQQGs_OGNzE6JKYbrTpEZ5wekVqBCQd79MdFIXqQx7GujhhLF-ALYpR627nKVyKUR90e5tFoTMbE3sVfArQ9ufxb81nGHo3x1BlK0Fo2YPbM1Vr/s1600/Sefarbi,+Untitled+1,+2007.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidGw714ZqBnguHYW5M7JV-cbNRLDEDNyQQGs_OGNzE6JKYbrTpEZ5wekVqBCQd79MdFIXqQx7GujhhLF-ALYpR627nKVyKUR90e5tFoTMbE3sVfArQ9ufxb81nGHo3x1BlK0Fo2YPbM1Vr/s1600/Sefarbi,+Untitled+1,+2007.jpg" height="396" width="400" /></a></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="mso-no-proof: yes;"></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal">
At first, it made no sense to me.<span style="mso-spacerun: yes;"> </span>I could see the horizontal divisions of the
picture continue through it, and I enjoyed the lower diagonal “family group”
sliding into it from the “beach” area.<span style="mso-spacerun: yes;">
</span>But I could not see how those stacked tiny curly car shapes fit the
theme.<span style="mso-spacerun: yes;"> </span>Yes, they repeated with variety colors
from the main section of the picture and, yes, they indicated a parking lot
with parked cars adjacent to the beach area, but the scale seemed odd and
distracting rather than purposeful.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Here is that vertical band by itself:</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRXslIKftGm10VdfPvSfthlS8c8E3BGHpC3Qs3T2ZGLT57toQ5r2sBjIv46RS3tkE0ucZWclkpz1GJ9WorxfQMoM3K2-GgfwDUG8hKmC7XM015gBS3pzLbpK0dYr9Fvi88RJK2cQYdAhJj/s1600/Sefarbi,+Untitled+1,+2007,+left+(3).jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRXslIKftGm10VdfPvSfthlS8c8E3BGHpC3Qs3T2ZGLT57toQ5r2sBjIv46RS3tkE0ucZWclkpz1GJ9WorxfQMoM3K2-GgfwDUG8hKmC7XM015gBS3pzLbpK0dYr9Fvi88RJK2cQYdAhJj/s1600/Sefarbi,+Untitled+1,+2007,+left+(3).jpg" height="640" width="113" /></a></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="mso-no-proof: yes;"></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal">
No matter how long I looked at it, I could not justify it. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I felt frustrated.<span style="mso-spacerun: yes;"> </span>I
thought of ending this post here, uploading it to my blog, and asking you to
email to me your experience with this painting.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Then, as often happens, I began to see.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
My analysis so far verified Sefarbi’s ability to achieve
space recession without lineal perspective, something he adapted from
Prendergast and from the Flemish Tradition, the stacked space seen in Van
Eyck’s <i style="mso-bidi-font-style: normal;">Last Judgment, </i>in which each
figure grouping is viewed head on in its own vertically oriented band of space:</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWk7p9_JmP_jVgZnjGESXxeCOTuAGqivGjE8pjSv0P684Dqb3cZN6SYhEeXznknBmvgt-aN7JES_kD6KYUV2qLEoSK0g2fkXYryfqadHOgcxkSb5CHx3FmL1l0pFCmjlFOoPte1vC8wYQH/s1600/Jan+van+Eyck,+The+Last+Judgment,+1430,+Met.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWk7p9_JmP_jVgZnjGESXxeCOTuAGqivGjE8pjSv0P684Dqb3cZN6SYhEeXznknBmvgt-aN7JES_kD6KYUV2qLEoSK0g2fkXYryfqadHOgcxkSb5CHx3FmL1l0pFCmjlFOoPte1vC8wYQH/s1600/Jan+van+Eyck,+The+Last+Judgment,+1430,+Met.jpg" height="400" width="336" /></a></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="mso-no-proof: yes;"></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
Jan van Eyck, <i style="mso-bidi-font-style: normal;">The Last Judgment, </i>1430, Met</div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal">
As in Sefarbi’s painting, we perceive deep space in the left
panel because the shapes get smaller and smaller and the color gets bluer and
bluer toward the top of the painting.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Below is another helpful Prendergast painting:</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgW0BoroBlO6pfl5-__gUEg0T7xZSwqCbxxhT-E1xePmgkf5MdnkGoXfW-mBIBflJkj9AdV4gEUjvitQIXg5Xwb1NASnCa3obC-NaK1pxmXQYWtfo9CUr3Z5kh8wb_h0fwWL-9nfbfQo4Qa/s1600/Maurice+Prendergast,+The+Beach+No.+3,+c.+1914-15,+Barnes.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgW0BoroBlO6pfl5-__gUEg0T7xZSwqCbxxhT-E1xePmgkf5MdnkGoXfW-mBIBflJkj9AdV4gEUjvitQIXg5Xwb1NASnCa3obC-NaK1pxmXQYWtfo9CUr3Z5kh8wb_h0fwWL-9nfbfQo4Qa/s1600/Maurice+Prendergast,+The+Beach+No.+3,+c.+1914-15,+Barnes.jpg" height="193" width="400" /></a></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="mso-no-proof: yes;"></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
Maurice Prendergast, <i>The
Beach “No. 3,” </i>c. 1914-15, Barnes</div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal">
Look closely so you can see the weaving of the horizontal
background bands to the figures.<span style="mso-spacerun: yes;"> </span>The
line suggesting the edge of the beach as it meets the “water,” and the lines
suggesting the ripples of water attach to the figures at elbows, dress folds,
bathing suit patterns, and feet. The groupings of figures, sit, bend, play, and
stroll in tightly knit groups.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Look even more closely at these cropped sections of the top
and bottom bands:</div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNTGT5RzuaOB_W3gCX8QEbrZItwAcOvK1Fc0MCnedrZAfuwVMOzLI1M0_f_1EANf4cqqv7p5yE-JIXeaBv4idQJtoiO4DFlab0bGFysV0o7CwCt7tGlVcH-4E0EwK2jZY132KoAClhs6MD/s1600/Maurice+Prendergast,+The+Beach+No.+3,+c.+1914-15,+Barnes+top+(3).jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNTGT5RzuaOB_W3gCX8QEbrZItwAcOvK1Fc0MCnedrZAfuwVMOzLI1M0_f_1EANf4cqqv7p5yE-JIXeaBv4idQJtoiO4DFlab0bGFysV0o7CwCt7tGlVcH-4E0EwK2jZY132KoAClhs6MD/s1600/Maurice+Prendergast,+The+Beach+No.+3,+c.+1914-15,+Barnes+top+(3).jpg" height="16" width="400" /></a></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span style="mso-no-proof: yes;"></span></i></div>
<div align="center" class="MsoNormal" style="text-align: center;">
Top</div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhn8MrnYXURzePwv0lAOL6VoFsZ_EM1Yxp5Mj1xVITEy4G1fvdK0vokyfiCEq28nKpImY-pvCa22TBHzorFbOYF7GFDdAbJkrsOGL45BfekRjJFd2uCSWbhgLROoJKcbIqr-pD38gE2mIc/s1600/Maurice+Prendergast,+The+Beach+No.+3,+c.+1914-15,+Barnes+bottom+(3).jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhn8MrnYXURzePwv0lAOL6VoFsZ_EM1Yxp5Mj1xVITEy4G1fvdK0vokyfiCEq28nKpImY-pvCa22TBHzorFbOYF7GFDdAbJkrsOGL45BfekRjJFd2uCSWbhgLROoJKcbIqr-pD38gE2mIc/s1600/Maurice+Prendergast,+The+Beach+No.+3,+c.+1914-15,+Barnes+bottom+(3).jpg" height="18" width="400" /></a></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="mso-no-proof: yes;"></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
Bottom</div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal">
Prendergast transformed what were rocks on a beach into a
series of coiled color shapes that make their way across the lower band of the
picture and get smaller and smaller as they reach the left side.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Prendergast transformed what were clouds in the sky into a
series of pebbly, sparkling dabs of color to close off the space recession at
the top and rhythmically repeat the pattern at the bottom.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Rocks on a beach, cars in a parking lot: Sefarbi transforms
the subject facts of his experience into a series of coiled, lumpy, blobby
color shapes that ascend to the upper section of his painting.<span style="mso-spacerun: yes;"> </span>His coiled, wiggling, color units saying cars
build a visually convincing vertical movement each seen at eye level just as do
the leaning, tilting, reclining, sitting figures. <span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Here is the Sefarbi painting again:</div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidGw714ZqBnguHYW5M7JV-cbNRLDEDNyQQGs_OGNzE6JKYbrTpEZ5wekVqBCQd79MdFIXqQx7GujhhLF-ALYpR627nKVyKUR90e5tFoTMbE3sVfArQ9ufxb81nGHo3x1BlK0Fo2YPbM1Vr/s1600/Sefarbi,+Untitled+1,+2007.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidGw714ZqBnguHYW5M7JV-cbNRLDEDNyQQGs_OGNzE6JKYbrTpEZ5wekVqBCQd79MdFIXqQx7GujhhLF-ALYpR627nKVyKUR90e5tFoTMbE3sVfArQ9ufxb81nGHo3x1BlK0Fo2YPbM1Vr/s1600/Sefarbi,+Untitled+1,+2007.jpg" height="396" width="400" /></a></div>
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<span style="mso-no-proof: yes;"></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal">
Look at it now.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
If you are like me, you can now enjoy the vertical, gleaming
golden bands filling each horizontal one.<span style="mso-spacerun: yes;">
</span>You can enjoy the rich, luminous pinks, spots of red, deep blacks, and
shiny grays.<span style="mso-spacerun: yes;"> </span>The “reclining” figures at
the right of the middle band look like a heap of beads, and reminiscent of
Matisse’s bronze sculptures of 1907 minus their bulk, their clumped variegated
dots, arcs, and squares of color shapes, reinforce and repeat ones seen in
every other figure and car.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In addition, the leaning “family group” of color units on
the bottom left are sandwiched between the “beach bands” and the “car bands,”
just as “figures” and “figure groups” in the “beach bands” settle in a band, or
link several bands together, or project out from a band, establishing a back
and forth, in and out, up and down rhythm to the entire picture.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The idea that had escaped me is really quite simple and
ingenious:<span style="mso-spacerun: yes;"> </span>a rhythmic movement of
color-areas and patterns incorporated within a continuous succession of
horizontal, glowing, color bands leads the eye back and forth from one part of
the picture to another.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
When I reached this point in my exploration, I felt
satisfied.<span style="mso-spacerun: yes;"> </span>More than satisfied, I felt exhilarated.<span style="mso-spacerun: yes;"> </span>I looked at this painting as though seeing it
for the first time and wondered why I took so long to get here.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Even better, the rewards kept coming.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
A few days ago, the <i style="mso-bidi-font-style: normal;">New
York Times </i>featured a story on its front page, “As Apprentices in Classrooms,
Teachers Learn What Work.”</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I spotted this photo:</div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggs7qEzYv_b1OeQ63ycReXeIxwELABvv9t0mPFjS-NxUpG2exJxGsEhDB3p9xZhLzIHTMUc_srX2NZg6Hnst4WloBUsrJeJF4XSQrNmVvvUAbjl2gFAg7rjdSMZBNYlQJcTEDKAEftv_Ov/s1600/NY+Times+photo+2014.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggs7qEzYv_b1OeQ63ycReXeIxwELABvv9t0mPFjS-NxUpG2exJxGsEhDB3p9xZhLzIHTMUc_srX2NZg6Hnst4WloBUsrJeJF4XSQrNmVvvUAbjl2gFAg7rjdSMZBNYlQJcTEDKAEftv_Ov/s1600/NY+Times+photo+2014.jpg" height="243" width="400" /></a></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="mso-no-proof: yes;"></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<i style="mso-bidi-font-style: normal;">New York Times, </i>10/11/14, Page 1, Photo by Jim Wilson</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
It arrived like a gift, just when I could appreciate
it.<span style="mso-spacerun: yes;"> </span>Notice the odd perspective created
by the camera positioned above the seated children.<span style="mso-spacerun: yes;"> </span>Notice the tilted rectilinear “desktops”
moving upward and to the right with the rounded heads and shoulders of the
seated children popping up at right angles.<span style="mso-spacerun: yes;">
</span>Notice the brightly patterned and colorful “mat” on the floor on the
right side, its irregular and colorful “state” patterns moving upward and to
the left.<span style="mso-spacerun: yes;"> </span>Notice the binders on the
rectilinear desktops rising upwards in space creating boxy shapes in which the
rectilinear white papers, tilted and turned, continue the patterns in space.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Think about whether you would have noticed this photograph
or enjoyed its qualities so much if you had not experienced Sefarbi’s painting.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Earlier today, I went to a lecture held in the Comcast
Auditorium of the Barnes Foundation.<span style="mso-spacerun: yes;">
</span>While I listened to the speaker, I found myself studying the rectilinear
backs of the seats as they moved toward the front of the auditorium with the
rounded “heads” and coiled shoulders of their sitters creating patterns and
colorful groupings between them.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I would not have noticed that before I struggled with this
post.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
And that is the surprise of the new.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
Marilyn Baumanhttp://www.blogger.com/profile/09221864675491721708noreply@blogger.com0tag:blogger.com,1999:blog-8720084087539855728.post-41433027702169239652014-08-23T08:49:00.001-07:002014-08-23T08:56:14.404-07:00Re-molding Visual Reality to Our Heart’s Desire<!--[if !mso]>
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<div class="MsoNormal">
In my last post, <a href="http://whylookatart.blogspot.com/2014/08/the-fault-is-not-in-our-stars-but-in.html">“The
Fault Is Not In Our Stars, But In Ourselves,”</a> <span style="color: #333333; font-family: "Georgia","serif"; font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";">I asked you to let me know how you felt about doing objective
aesthetic analysis.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="color: #333333; font-family: "Georgia","serif"; font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";">Many of you did let me
know.<span style="mso-spacerun: yes;"> </span>You confirmed what I suspected: you
resist doing it because it is hard and takes a lot of time and effort.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="color: #333333; font-family: "Georgia","serif"; font-size: 11.0pt; mso-fareast-font-family: "Times New Roman";">You said you had to </span>spend
many hours looking at works of art to figure out their aesthetic content.<span style="mso-spacerun: yes;"> </span>Often, you just don’t feel like doing that.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I argued we do it, even if it is difficult and time
consuming, because it helps us uncover the art in painting, and applying the
objective method is still the only way to appreciate aesthetic meaning in a
picture.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In this post, however, I am adding something I have never
said before and you may not believe: we also do it for the fun of it, and I do
not use the word “fun” to imply something trivial.<span style="mso-spacerun: yes;"> </span>I believe it is fun to remake the world as we
would like it to be, and that is what artists do and what we do when we
experience their work.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Many of us think of Dr. Barnes as serious, ponderous,
belligerent, or argumentative. We do not think of him as lighthearted or
humorous.<span style="mso-spacerun: yes;"> </span>Long ago he wrote an essay,
“How to Judge a Painting,” published in the April 1915 edition of <i style="mso-bidi-font-style: normal;">Arts and Decoration </i>(pp. 217-220;
246-250).<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Check the date: 1915.<span style="mso-spacerun: yes;">
</span>That’s almost 100 years ago.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In it, he explains his joy of collecting.<span style="mso-spacerun: yes;"> </span>What are some of its pleasures?<span style="mso-spacerun: yes;"> </span>He wrote:</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
The least is the mere possession,
the best, the joy that one can feel but not express to others; between these
two extremes are pleasures that can be compared to the notes of a piano,
limited in what can be produced only by the performer’s skill and
knowledge.<span style="mso-spacerun: yes;"> </span>Good paintings are more
satisfying companions than the best of books and infinitely more so than most
very nice people. I can talk, without speaking, to Cezanne, Prendergast,
Daumier, Renoir, and they talk to me in kind.<span style="mso-spacerun: yes;">
</span>I can criticize them and take, without offense, the refutation which
comes silently but powerfully when I learn, months later, what they mean and
not what I thought they meant.<span style="mso-spacerun: yes;"> </span>That is
one of the joys of a collection, the elasticity with which paintings stretch to
the beholder’s personal vision which they progressively develop.<span style="mso-spacerun: yes;"> </span>And that is portionate to what a man thinks
he sees in it (p. 248).</div>
<div class="MsoNormal" style="margin-left: .5in;">
<br /></div>
<div class="MsoNormal">
I quote Dr. Barnes as affirmation of our struggle to
confront paintings and wrestle from them what they are trying to show us.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I also quote him because, at first, when he started to
purchase paintings and build his collection, he did not know how to talk to or
listen to paintings nor did he possess an education in art appreciation.<span style="mso-spacerun: yes;"> </span>Dr. Richard Wattenmaker’s book, <i style="mso-bidi-font-style: normal;">American Paintings and Works on Paper in the
Barnes Foundation, </i>documents and describes Dr. Barnes’s relationships with
artists he befriended: Glackens, Hartley, Maurer, Demuth, among others.<span style="mso-spacerun: yes;"> </span>He asked them questions; they suggested to
him the work of artists they thought were creative; he looked, and questioned,
and studied, and listened.<span style="mso-spacerun: yes;"> </span>He read books
on art appreciation and found most of them useless, but others helpful.<span style="mso-spacerun: yes;"> </span>And he looked some more.<span style="mso-spacerun: yes;"> </span>Slowly, he began to develop a sensible way to
evaluate creative achievement, and he credited his frequent association with
his life-long friend Glackens, “who combines greatness as an artist with a big
man’s mind,” as his most valuable single educational factor. (p. 248)</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Then he wrote books so we could apply the insights and tools
he invented.<span style="mso-spacerun: yes;"> </span>During his lifetime, he
changed his mind about some of his conclusions, and he deepened and enriched
his ability to see and describe his discoveries.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
All the while, he enjoyed himself immensely.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Recently, I showed a book to my daughter, a book I loved as
a child, and one I wanted her to treasure and not discard some day in the
future when she “cleaned out” my possessions as she just did for her
grandfather.<span style="mso-spacerun: yes;"> </span>An eleventh century Persian
mathematician wrote original rhymes (literally <i style="mso-bidi-font-style: normal;">rubá-i </i>or <i style="mso-bidi-font-style: normal;">rubáiyát</i>, a
collection of rhymes).<span style="mso-spacerun: yes;"> </span>His name was
Ghiyáthuddin Abulfath Omar bin Ibráhim al-Khayyámi—or, Omar, son of Abraham,
the tent-maker.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
We know his rhymes as the Rubáiyát of Omar Khayyám.<span style="mso-spacerun: yes;"> </span>When I was about 7 years old, my mother showed
me the illustrations in this book and, to this day, I remember them.<span style="mso-spacerun: yes;"> </span>A thirty-one year old artist, Mahmoud Sayah,
illustrated the edition she had, a reprint of the First Edition, published by
Random House in 1947.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The 73<sup>rd</sup> stanza goes like this:</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
Ah Love! could thou and I with Fate
conspire</div>
<div class="MsoNormal" style="margin-left: .5in;">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
To grasp this sorry Scheme of
Things entire,</div>
<div class="MsoNormal" style="margin-left: .5in;">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="mso-tab-count: 1;"> </span>Would
not we shatter it to bits—and then</div>
<div class="MsoNormal" style="margin-left: .5in;">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
Re-mould it nearer to the Heart’s
Desire!</div>
<div class="MsoNormal" style="margin-left: .5in;">
<br /></div>
<div class="MsoNormal">
Artists do this.<span style="mso-spacerun: yes;"> </span>They
remold the world and bring it closer to their heart’s desire.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
And we do this too.<span style="mso-spacerun: yes;"> </span>By
examining works of art, we bring them closer to our heart’s desire.<span style="mso-spacerun: yes;"> </span>As Dr. Barnes wrote, the work of art stretches
to our personal vision, and it is the work of art, every step of the way,
informing, developing, and stretching our personal vision.<span style="mso-spacerun: yes;"> </span>Our skill and knowledge allows us to share
our discoveries as best we can.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Today, therefore, I will share with you two paintings I have
been studying.<span style="mso-spacerun: yes;"> </span>To be honest, not
studying so much as researching whether Demuth actually saw the following
Pascin picture before he painted <i style="mso-bidi-font-style: normal;">Interior
with Group of People around Red-Headed Woman</i>:</div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJIXHj_rnqLUQjZEYJyWbDz_C4yIb4j2S0OBz6_QntDVIopn2aukgOLiW5KEaeJedGNFx3iHm6M_ll7nAXQ6VvOUC1Kwo6nnyEUPouT7yYBzNX1pgp-7Ffraca9Fa52S6tb5evm9a-3GMV/s1600/Pascin,+Cuban+Hospitality,+1915,+Oil+on+canvas,+Barnes,+bf344+(2).jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJIXHj_rnqLUQjZEYJyWbDz_C4yIb4j2S0OBz6_QntDVIopn2aukgOLiW5KEaeJedGNFx3iHm6M_ll7nAXQ6VvOUC1Kwo6nnyEUPouT7yYBzNX1pgp-7Ffraca9Fa52S6tb5evm9a-3GMV/s1600/Pascin,+Cuban+Hospitality,+1915,+Oil+on+canvas,+Barnes,+bf344+(2).jpg" height="400" width="347" /></a></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="mso-no-proof: yes;"></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-size: 10.0pt;">Pascin, <i>Cuban Hospitality, </i>1915, Oil on canvas,
Barnes</span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Here is the Demuth:</div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJAloml56s7hj7tSI5sxkZAXEA4TNmlZPZLJ6aYEbFKHgqD-v9Ll5y3QhwUIYrbfGl-5PIH56nZzlpYLuMG085jfvYRFd_vTvLqS8mpCMq6t-ogL8CH_SuHgdoQNwhBrsZ_6rwWv_ae1Qk/s1600/Demuth,+Interior+with+Group+of+People+around+Red-Headed+Woman,+1919,+Watercolor+and+graphite+on+wove+paper,+Barnes,+bf2007+(2).jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJAloml56s7hj7tSI5sxkZAXEA4TNmlZPZLJ6aYEbFKHgqD-v9Ll5y3QhwUIYrbfGl-5PIH56nZzlpYLuMG085jfvYRFd_vTvLqS8mpCMq6t-ogL8CH_SuHgdoQNwhBrsZ_6rwWv_ae1Qk/s1600/Demuth,+Interior+with+Group+of+People+around+Red-Headed+Woman,+1919,+Watercolor+and+graphite+on+wove+paper,+Barnes,+bf2007+(2).jpg" height="290" width="400" /></a></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="mso-no-proof: yes;"></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-size: 10.0pt; mso-bidi-font-style: italic;">Demuth, <i>Interior with
Group of People around Red-Headed Woman</i></span><span style="font-size: 10.0pt;">,
1919, Watercolor and graphite on wove paper, Barnes</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-bidi-font-size: 12.0pt;">At first glance, I
saw striking similarities in the subjects, the color schemes, and the
compositions.</span></div>
<br />I have scoured Dr. Wattenmaker’s writings on both Pascin and Demuth; I have scrutinized every footnote. Yes, Demuth knew and borrowed visual ideas from Pascin, but these two pictures suggest he might have set out deliberately to use Pascin’s Cuban Hospitality as a starting point. <br /><br />Research did not verify my suspicions. A librarian at the Barnes Foundation told me the1915 Pascin was acquired by Dr. Barnes in 1921. The Demuth, painted in 1919, does not have an acquisition date. If Demuth saw this Pascin painting before it reached the Foundation in 1921, Pascin would have had to show it to him since there are no other references listed for it before a 1921 exhibition—the same year it was acquisitioned by Dr. Barnes.<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Today, I finally decided to get to know both paintings and
let the paintings talk to me.<span style="mso-spacerun: yes;"> </span>Once I
made this decision, I felt that mixture of excitement and fear that attends
every objective exploration I have done.<span style="mso-spacerun: yes;">
</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I thought, “I can’t do this; I don’t feel like doing this; I
do not know enough to do this well?”<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Courage does not imply fearlessness.<span style="mso-spacerun: yes;"> </span>A courageous person feels fear and goes ahead
anyway.<span style="mso-spacerun: yes;"> </span>Rollo May wrote a book about
this, <i style="mso-bidi-font-style: normal;">The Courage to Create.<span style="mso-spacerun: yes;"> </span></i></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Knowing that encouraged me to go to work.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Here are two cropped and enlarged details from each
painting:</div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQr_7REESXgaCPf1R1wppJ8TEQDaDbG_PuHTs8LdT6B29VypXKc_D4a5AM3XrbNCHtfjlZfC-XreOEp-AHmLXeP_C3jvhIWb1evMmmeL7Aa1bMeiCWmKil1jldRpysURGEtpzkLMG-q5iN/s1600/Pascin,+Cuban+Hospitality,+1915,+Oil+on+canvas,+Barnes,+bf344+(3).jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQr_7REESXgaCPf1R1wppJ8TEQDaDbG_PuHTs8LdT6B29VypXKc_D4a5AM3XrbNCHtfjlZfC-XreOEp-AHmLXeP_C3jvhIWb1evMmmeL7Aa1bMeiCWmKil1jldRpysURGEtpzkLMG-q5iN/s1600/Pascin,+Cuban+Hospitality,+1915,+Oil+on+canvas,+Barnes,+bf344+(3).jpg" height="400" width="321" /></a></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="mso-no-proof: yes;"></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-size: 10.0pt;">Pascin</span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgMzGbj-8aOjCxPm8XsrjjOWtQkJ6R1bwHLAthu4t2anRMV0qavKx0E0PDvC22jbEVt6JiFaUF5AhQjr9nWqe2KMNdRt5FzeduKgsP3d9cGtNiRo_1L3z3QD-v5jyLVZiiKM3pC-xKXoRH/s1600/Demuth,+Interior+with+Group+of+People+around+Red-Headed+Woman,+1919,+Watercolor+and+graphite+on+wove+paper,+Barnes,+bf2007+(3).jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgMzGbj-8aOjCxPm8XsrjjOWtQkJ6R1bwHLAthu4t2anRMV0qavKx0E0PDvC22jbEVt6JiFaUF5AhQjr9nWqe2KMNdRt5FzeduKgsP3d9cGtNiRo_1L3z3QD-v5jyLVZiiKM3pC-xKXoRH/s1600/Demuth,+Interior+with+Group+of+People+around+Red-Headed+Woman,+1919,+Watercolor+and+graphite+on+wove+paper,+Barnes,+bf2007+(3).jpg" height="337" width="400" /></a></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="mso-no-proof: yes;"></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-size: 10.0pt;">Demuth</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The center-right of the Pascin oil shows warm chocolate brown,
ochre, and orangey tans contrasted with cool blues, greens, and lavenders.<span style="mso-spacerun: yes;"> </span>The curvy, loose outlines, made up of arcs
and arabesques, occur within and outside of the color volumes.<span style="mso-spacerun: yes;"> </span>The lines are various hues of brown, blue,
and black, as well as crisp, broken, and rhythmic, creating an active sense of
movement.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The soft, pillow-like, shimmering color volumes, including
the background spaces between the figures and hugging the small green bottle in
the lower center, move from left to right.<span style="mso-spacerun: yes;">
</span>If you look back at the entire painting, you will see how every unit actively
pulses, and every line and volume swirls in animated motion.<span style="mso-spacerun: yes;"> </span>Dr. Barnes argues each “unit in [this] canvas
is alive, and so, thanks to the pervasive, delicate, graceful rhythms, is the
composition as a whole.” (<i style="mso-bidi-font-style: normal;">The Art in
Painting, </i>p. 376).<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The enlarged section of the 1919 Demuth watercolor exhibits
deep, luminous black and grays contrasted with ivory and ochre. The orangery
tans are similar to the Pascin.<span style="mso-spacerun: yes;"> </span>I felt
surprised when I realized the similarities ended there. Demuth’s figures are
set against a rhythmic background of repeated linear strokes.<span style="mso-spacerun: yes;"> </span>The cucumber-like leg extended diagonally
right sets off a series of angular, delicate, upward moving geometric planes
derived from Cézanne, but with greater fluidity and lightness.<span style="mso-spacerun: yes;"> </span>Individual facial expressions and gestures rather
than generalized movement become the keynote: the reclining man’s right hand
holding a card; his left hand bent at the wrist fingers bent under creating an
open C-shape of space; the redheaded woman caught in a moment of surprise or
anger holding the glass, her hand wrapped around it like soft dough; the
black-haired woman, mouth wide open in a C, nose pointed, her profile echoing
the dark/light contrast of the angular C shape and the object’s pointedness in
the man’s left hand.<span style="mso-spacerun: yes;"> </span>At the same time,
the tip of his knee repeats the triangle of her nose.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Here are both pictures upside down:<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGhK7_XzWfl-qaFoYCD5jjh0d42bV7RYP_4cgXw-DpR4WTZCDjkMXOJjx26-RIHA090EHeWe0gJOGdBGE1HNi42BVyNhw5WgtRWcl0SPVTd9y7iA3QIBcHdm9CJiUYutYORrX7qxVEav-A/s1600/Pascin,+Cuban+Hospitality,+1915,+Oil+on+canvas,+Barnes,+bf344+(4).jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGhK7_XzWfl-qaFoYCD5jjh0d42bV7RYP_4cgXw-DpR4WTZCDjkMXOJjx26-RIHA090EHeWe0gJOGdBGE1HNi42BVyNhw5WgtRWcl0SPVTd9y7iA3QIBcHdm9CJiUYutYORrX7qxVEav-A/s1600/Pascin,+Cuban+Hospitality,+1915,+Oil+on+canvas,+Barnes,+bf344+(4).jpg" height="400" width="347" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJX-uJi-6Maf1PMa3VcK-poSSm7Rzd3ScAsx4P0Rrdx6n_OR9BoHcsGUY8zKe2TnwmDMUBvTVi_VRvkKux946bgkezjnZ29RFPCsbJEIZmp0VP0f-RLlTlBvOizTKg5X4uMkOZ03r9bkDm/s1600/Demuth,+Interior+with+Group+of+People+around+Red-Headed+Woman,+1919,+Watercolor+and+graphite+on+wove+paper,+Barnes,+bf2007+(4).jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJX-uJi-6Maf1PMa3VcK-poSSm7Rzd3ScAsx4P0Rrdx6n_OR9BoHcsGUY8zKe2TnwmDMUBvTVi_VRvkKux946bgkezjnZ29RFPCsbJEIZmp0VP0f-RLlTlBvOizTKg5X4uMkOZ03r9bkDm/s1600/Demuth,+Interior+with+Group+of+People+around+Red-Headed+Woman,+1919,+Watercolor+and+graphite+on+wove+paper,+Barnes,+bf2007+(4).jpg" height="290" width="400" /></a></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="mso-no-proof: yes;"></span></div>
<br />
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal">
As I now look at these paintings, I wonder why I felt they
had so much in common.<span style="mso-spacerun: yes;"> </span>Yes, both are
crowded with figures and backed by a rectilinear screen that divides the
spatial areas.<span style="mso-spacerun: yes;"> </span>Yes, both have an overall
color scheme of brown, ochre, and tan.<span style="mso-spacerun: yes;"> </span>The
luminous color units overlap, their linear boundaries are loose and undulating,
and the linear patterns repeat, creating motifs of their expressive and/or
decorative design.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Individually, the differences are striking.<span style="mso-spacerun: yes;"> </span>The impact of the Pascin is a series of
circular color shapes with sinewy, undulating, verticals rising from them—all
blocked by the diagonal greenish screen on which the semicircular bands
repeat.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The Demuth is a semicircle of dark/light color units that
move in front of the rectilinear wall (now on the right) and behind it (now on
the left).<span style="mso-spacerun: yes;"> </span>At the (now) top, chair rails
form tube-shaped cages, a big head looming forward on the right, and a smaller
head moving backward on the left.<span style="mso-spacerun: yes;"> </span>These
intricate color units set up all the relationships of the orchestrated planes
in space.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The figures finally settled the matter.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Examine these cropped and enlarged sections of both
paintings:<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEWjM1wLbiTOO6KbSUIUi0UYhjMIO0DvgA_gb9QBg0lIwdjHMKK3smQMTmgSzVCYIdsOGctICDyS_rZDYnTImS6DBn-XD-Pg1o54Crs4uRMExvSE5hh12rt0LrxgUByw3vtD5M-eizsHsc/s1600/Pascin,+Cuban+Hospitality,+1915,+Oil+on+canvas,+Barnes,+bf344+(5).jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEWjM1wLbiTOO6KbSUIUi0UYhjMIO0DvgA_gb9QBg0lIwdjHMKK3smQMTmgSzVCYIdsOGctICDyS_rZDYnTImS6DBn-XD-Pg1o54Crs4uRMExvSE5hh12rt0LrxgUByw3vtD5M-eizsHsc/s1600/Pascin,+Cuban+Hospitality,+1915,+Oil+on+canvas,+Barnes,+bf344+(5).jpg" height="400" width="226" /></a></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="mso-no-proof: yes;"></span></div>
<div class="MsoNormal">
<span style="mso-tab-count: 5;"> </span><span style="font-size: 10.0pt;"><span style="mso-tab-count: 1;"> </span>Pascin</span></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhK9o4KfO-RmYAHZSImi5zF1kCDiWSWO64sWUvZEIEqrOXjRxUHxhkr8M-gC8Y097AP4Q3teUQKr-MRuooUEU_Zj8SweUBVMPvBtaSK9yjUMeAF7dZjITyt7PFhhx8G-4KUlC6ceF0hyphenhyphencpM/s1600/Demuth,+Interior+with+Group+of+People+around+Red-Headed+Woman,+1919,+Watercolor+and+graphite+on+wove+paper,+Barnes,+bf2007+(5).jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhK9o4KfO-RmYAHZSImi5zF1kCDiWSWO64sWUvZEIEqrOXjRxUHxhkr8M-gC8Y097AP4Q3teUQKr-MRuooUEU_Zj8SweUBVMPvBtaSK9yjUMeAF7dZjITyt7PFhhx8G-4KUlC6ceF0hyphenhyphencpM/s1600/Demuth,+Interior+with+Group+of+People+around+Red-Headed+Woman,+1919,+Watercolor+and+graphite+on+wove+paper,+Barnes,+bf2007+(5).jpg" height="400" width="337" /></a></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="mso-no-proof: yes;"></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-size: 10.0pt;">Demuth</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In the Pascin, the figure is a solid, three-dimensional
volume ruggedly constructed with bands and patches of deep, rich, brown, tan,
and cool gray, and outlined with sometimes delicate and sketchy lines and
sometimes thick and heavy ones.<span style="mso-spacerun: yes;"> </span>The
resultant volume is heavier in weight than Demuth’s.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In the Demuth, the figure is softly rounded, delineated with
graceful curvilinear lines, and mottled, lightly applied, washes of color.<span style="mso-spacerun: yes;"> </span>The resulting volume has, according to Dr.
Wattenmaker, a “luminous, atmospheric shimmer that heightens the drama.” (<i style="mso-bidi-font-style: normal;">American Paintings and Works on Paper in the
Barnes Foundation, </i>p. 261).<span style="mso-spacerun: yes;"> </span>A series
of lines applied in sections of the volume and surrounding it repeat motifs
occurring throughout the picture. </div>
<div class="MsoNormal" style="margin-left: .5in;">
<br /></div>
<div class="MsoNormal">
Laurence Buermeyer wrote in <i style="mso-bidi-font-style: normal;">The Aesthetic Experience </i>that the “story of fine art is only half
told when we have said that is expression, and expression more complete than
the conditions of ordinary living allow. To finish the story we must add that
it is expression in a medium of sense.” (p. 85) When the purpose of an artist’s
work is grasped and understood, we feel consoled, and this is what art offers
“for our relatively infirm hold on the real world,” he said.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
But fun?</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In that 1915 article, here is what Dr. Barnes wrote about
the negative criticism Glackens’ work received in the Armory Exhibit of 1913, illustrating,
at the same time, his understanding of how visual ideas evolve:<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
Manet’s spirit says to the
Glackens, “You put your paint on like a painter”; Renoir chimes in, “You have
bettered my skill in making figures merge with the landscape”: Monet adds,
“Your sunshine, play of light and color, atmosphere, make you my rival”;
Degas’s grunts, “Humph-he-ha, fine drawing that.”<span style="mso-spacerun: yes;"> </span>(p. 246)</div>
<div class="MsoNormal" style="margin-left: .5in;">
<br /></div>
<div class="MsoNormal">
Spot on, as the Brits say, and fun.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
Marilyn Baumanhttp://www.blogger.com/profile/09221864675491721708noreply@blogger.com0tag:blogger.com,1999:blog-8720084087539855728.post-4819998970222483202014-08-04T12:00:00.000-07:002014-08-14T14:25:34.481-07:00The Fault Is Not In Our Stars, But In Ourselves<!--[if !mso]>
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<div class="MsoNormal">
I wrote my previous post, <a href="http://whylookatart.blogspot.com/2014/06/much-ado-about-everything.html">Much
Ado About Everything</a> on June 6.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In the past two months, I have been building a new course
titled “Adventures in American Art,” and that has sucked up just about every
minute of every day, leaving me neither time nor energy to write posts.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I am not complaining: I learned a lot, and I am eager to
start teaching again in September. <span style="mso-spacerun: yes;"> </span>What
I do miss, however, is doing aesthetic analysis.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Does this surprise you?<span style="mso-spacerun: yes;">
</span>Why, you may be thinking, would I not be doing aesthetic analysis as I
built the course?</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
As much as I hate to admit it, the reason is quite simple:
the research seduced me.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Many books are scattered on my family room floor.<span style="mso-spacerun: yes;"> </span>I finally read them, all of them, and I
learned everything about the artists whose work I will discuss in the
course.<span style="mso-spacerun: yes;"> </span>I know their life stories; I
know whom they married or did not marry; I know where they went to school; I
know where they traveled; I know whom they hung out with, what illnesses they
had, what setbacks and triumphs.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In short, I took the road most traveled and, so far, I neglected
to study their paintings myself to understand and evaluate their aesthetic contribution.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Two days ago, a colleague shared with me the first class of the
course he is building on Harry Sefarbi’s work to coincide with a Sefarbi
exhibit at the Wayne Art Center opening September 21.<span style="mso-spacerun: yes;"> </span>Unlike me, he had limited information about
Sefarbi’s life and work, so he did the objective analysis, himself, painting by
painting.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I felt a stab of envy.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Where had I gone astray and why?</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Dr. Richard Wattenmaker, one of the sources of my dilemma
because his scholarship is superb, <span style="mso-spacerun: yes;"> </span>supplied part of the answer to my
questions.<span style="mso-spacerun: yes;"> </span>In his book, <i style="mso-bidi-font-style: normal;">American Paintings and Works on Paper in the
Barnes Foundation, </i>he wrote, “Barnes’s method took interest, patience,
application, careful firsthand observation, and easy access to works of art, as
well as willingness to ignore the adventitious and to be guided constantly to
refine one’s perceptions.” (p. 38)</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Ignore the adventitious.<span style="mso-spacerun: yes;">
</span>There it was, almost. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The more important reason: laziness.<span style="mso-spacerun: yes;"> </span>Careful, firsthand observation takes
time.<span style="mso-spacerun: yes;"> </span>It takes energy.<span style="mso-spacerun: yes;"> </span>It takes confidence.<span style="mso-spacerun: yes;"> </span>After almost 40 years of using the objective
method, I found it easier to research what other “experts” said about
individual paintings then trust my own judgment and do the laborious work to
define their aesthetic content.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The other important reason: feelings.<span style="mso-spacerun: yes;"> </span>I have written posts regarding the role of
feelings in objective analysis (See <a href="http://whylookatart.blogspot.com/2011/10/whats-feeling-got-to-do-with-it.html"><span style="mso-fareast-font-family: Calibri;">What’s Feeling Got To Do With It?</span></a><span style="mso-fareast-font-family: Calibri;">)</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
From the beginning, Dr. Barnes argued, “Perception as a part
of a phase of the general process of experience, is both subjective and
objective: subjective in choosing for attention and emphasis the details in an
objective situation which are relevant to feeling or interest; objective, in
registering a set or group of details which are present in the environment
whether we wish them to be or not.” <span style="mso-spacerun: yes;"> </span>(“Method
in Aesthetics,” <i style="mso-bidi-font-style: normal;">The Philosopher of the
Common Man, </i>1940, 93)<span style="mso-fareast-font-family: Calibri;"></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I knew what I had to do. I had to take some medicine, and
this medicine had to be compounded carefully.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I selected the following two pictures for those reasons, and
because Dr. Barnes, as early as 1925, <span style="mso-spacerun: yes;"> </span>compared Demuth’s <i style="mso-bidi-font-style: normal;">Bermuda: Houses Seen through</i> Trees with <i style="mso-bidi-font-style: normal;">Portrait of an Abbot</i>, a late 18th century portrait of a Chinese
figure, illustrating them side by side, in the 1925 edition of <i style="mso-bidi-font-style: normal;">The Art in Painting</i>.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I found the comparison “stretched,” as my students often
complained when I showed them traditional similarities in the work of seemingly
disparate artists or subjects.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
If this method is to work, it is our job to verify the
analysis of others, even if those others are Albert Barnes and Violette de
Mazia.<span style="mso-spacerun: yes;"> </span>We must scrutinize and ask
questions of books and persons.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Didn’t I say this takes courage?</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Here are the two images:</div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9gAQ6vqth02-CrW_OJ4Jrc9YXzzdyUej59LhbogwLBObbSVmtJ6mpX05JdL5wtqs0rdx3DJAfmBLp8gO5H1YOIGC_31-pQnJep6RG3ALwyjiECOXvE48jHfHjQmm0zXDvwF4_ysKku7Ju/s1600/Demuth,+Houses+Seen+through+Trees,+Barnes.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9gAQ6vqth02-CrW_OJ4Jrc9YXzzdyUej59LhbogwLBObbSVmtJ6mpX05JdL5wtqs0rdx3DJAfmBLp8gO5H1YOIGC_31-pQnJep6RG3ALwyjiECOXvE48jHfHjQmm0zXDvwF4_ysKku7Ju/s1600/Demuth,+Houses+Seen+through+Trees,+Barnes.jpg" height="400" width="283" /></a></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="mso-no-proof: yes;"></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-size: 10.0pt;">Demuth, <i style="mso-bidi-font-style: normal;">Bermuda:
Houses Seen Through Trees</i>, 1918, Watercolor and graphite on wove paper,
Barnes</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-uAPBSpTUsXzBGVYQc8kZpK_NLodcoGuUw9fJc8X5lw9rY_v9L0vsFK33ZhQm33Prqg7Jgp6KD-zfnSgAYT4FThmmhIU-_OQgNE_yKUqnk4VgDq1P7T_NXe2lr6XcwgB29j2P5RLgXwlH/s1600/Korean,+Portrait+of+an+Abbot,+mid+to+late+18th+century,+Black+ink+and+heavily+applied+pigments+on+silk,+Barnes.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-uAPBSpTUsXzBGVYQc8kZpK_NLodcoGuUw9fJc8X5lw9rY_v9L0vsFK33ZhQm33Prqg7Jgp6KD-zfnSgAYT4FThmmhIU-_OQgNE_yKUqnk4VgDq1P7T_NXe2lr6XcwgB29j2P5RLgXwlH/s1600/Korean,+Portrait+of+an+Abbot,+mid+to+late+18th+century,+Black+ink+and+heavily+applied+pigments+on+silk,+Barnes.jpg" height="400" width="251" /></a></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="mso-no-proof: yes;"></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-size: 10.0pt;">Korean, <i style="mso-bidi-font-style: normal;">Portrait
of an Abbot</i>, mid to late 18th century, Black ink and heavily applied
pigments on silk, Barnes</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
First, I will turn them upside down:</div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSHFNKg93oA2gdgOJgu1fqaL7rMlZuu1RZgqIJFbRncDjckxpyJTn76Imv-qOOcVahkoU2CzibpbCmBCGW0mYr5OKQibvWnHsaJ2L2Tyaqtpl8oSTmWHahsABSmqI5hB5VpvNcryWa9gMv/s1600/Demuth,+Houses+Seen+through+Trees,+Barnes+(4).jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSHFNKg93oA2gdgOJgu1fqaL7rMlZuu1RZgqIJFbRncDjckxpyJTn76Imv-qOOcVahkoU2CzibpbCmBCGW0mYr5OKQibvWnHsaJ2L2Tyaqtpl8oSTmWHahsABSmqI5hB5VpvNcryWa9gMv/s1600/Demuth,+Houses+Seen+through+Trees,+Barnes+(4).jpg" height="400" width="283" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjExekWERM-Rus-SlYe3E2tiMKEsZ49LbzBWWfHh0tGrBfXOiL-v2garNd5reyCcjHohXs8ohDRdzeENTy55KHd-yQ56qwR7Iw3t74gnrbsah1usGYaOdosxmu1vt4oDeoBlRGozGs6A3r5/s1600/Korean,+Portrait+of+an+Abbot,+mid+to+late+18th+century,+Black+ink+and+heavily+applied+pigments+on+silk,+Barnes+(4).jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjExekWERM-Rus-SlYe3E2tiMKEsZ49LbzBWWfHh0tGrBfXOiL-v2garNd5reyCcjHohXs8ohDRdzeENTy55KHd-yQ56qwR7Iw3t74gnrbsah1usGYaOdosxmu1vt4oDeoBlRGozGs6A3r5/s1600/Korean,+Portrait+of+an+Abbot,+mid+to+late+18th+century,+Black+ink+and+heavily+applied+pigments+on+silk,+Barnes+(4).jpg" height="400" width="251" /></a></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="mso-no-proof: yes;"><br /></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Upside down, their subjects morph into color shapes, and the
differences between a landscape and a man seated disappear.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
A series of patterns emerge.<span style="mso-spacerun: yes;">
</span>Tree trunks in the Demuth become mottled, gray, vertical, curvilinear, sinuous
bands that push back and set off rectilinear, shimmering, orange/tan color
shapes.<span style="mso-spacerun: yes;"> </span>These rhythmically repeat in
varied arabesques of gray, white, and tan.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The figure in the Korean picture becomes a series of
vertical, light, tan curvilinear color shapes (the arms and hands) that set off
and push back a series of red, sinuous color shapes (the decorative fabric of
the robe).<span style="mso-spacerun: yes;"> </span>Rhythmically supported in the
dark brown grids (the verticals and horizontals of the arms and back of the
chair), the picture units move back and forth in shallow space in ways similar
to Demuth’s.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In both, you see a rhythm of interpenetrating angular planes
with an intertwining arabesque movement of various units set in shallow space.<span style="mso-spacerun: yes;"> </span>In both, you see delicacy and floating
lightness.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>In both, the lines are carefully drawn, fine,
linear boundaries. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Since this is exactly what Barnes and de Mazia wrote in the
catalog to the exhibit of <i style="mso-bidi-font-style: normal;">Ancient Chinese
and Modern European Paintings</i> held at the Bignou Gallery, NY, in 1943, I
verified their perceptions.<span style="mso-spacerun: yes;"> </span>They wrote,
“The watercolors of Charles Demuth, an American, are allied to the Chinese by
their highly decorative angular and curvilinear arabesques, their disposition
of planes in space, the pervasive delicacy and floating lightness.<span style="mso-spacerun: yes;"> </span>A striking similarity exists also in their
carefully drawn fine linear boundaries.<span style="mso-spacerun: yes;">
</span>These delicate, clean-cut contours are contrasted, as in the Chinese,
with loosely defined outlines, and the result is a dainty crisp quality
injected into the vaporous lightness.”</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
There are differences as well. <span style="mso-spacerun: yes;"> </span>Demuth’s picture is less illustrative. <span style="mso-spacerun: yes;"> </span>Demuth combines decoration and illustration in
a highly effective design based on elements in Cézanne’s form.<span style="mso-spacerun: yes;"> </span>It is a series of delicate, well-defined
planes of contrasting color which draw and model the units and set them in
space.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
This dose of medicine restored me.<span style="mso-spacerun: yes;"> </span>These pictures shared their secrets with me
because I spent time with them, used the tools available to me to do the work,
and I felt that warmth of excitement that accompanies genuine perception.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I will conclude by sharing information Dr. Wattenmaker
provides in the chapter “Albert C. Barnes and The Barnes Foundation,” in his
book <i style="mso-bidi-font-style: normal;">American Paintings and Works on
Paper in the Barnes Foundation.<span style="mso-spacerun: yes;"> </span></i>He
discusses the critical reception of Dr. Barnes’s first book, the 1925 edition
of <i style="mso-bidi-font-style: normal;">The Art in Painting.<span style="mso-spacerun: yes;"> </span></i>Reviewers were genuinely positive, but
Leo Stein argued that Barnes erred by telling readers what was good and bad in
the works he analyzed.<span style="mso-spacerun: yes;"> </span>He wrote, “Mr.
Barnes insistently and not incidentally offers valuations to the student as
though such valuations would mark the successful student’s observation.<span style="mso-spacerun: yes;"> </span>I believe that there is in this a serious defect
of method.<span style="mso-spacerun: yes;"> </span>Valuations are personal and
not systematic.” (p. 40)</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Many current students say this too.<span style="mso-spacerun: yes;"> </span>They feel offended by Dr. Barnes’ strong
“opinions,” as they term his conclusions, especially when they do not agree
with them.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Here is how Dr. Barnes replied: “It is not assumed that the
conclusions reached with regard to particular paintings are the only ones
compatible with the use of the method; any one of them is of course subject to
revision.<span style="mso-spacerun: yes;"> </span>What is claimed is that the
method gives results as objective as possible within any field of aesthetic
experience and that it reduces to a minimum the role of merely personal and
arbitrary preference.” (40)</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I am grateful personal and arbitrary preference can be
mitigated by the careful and skillful application of a set of tools that
uncover the art in painting. </div>
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How do you feel about this?<span style="mso-spacerun: yes;">
</span>Do you resist doing objective aesthetic analysis?<span style="mso-spacerun: yes;"> </span>Please let me know either below on the blog or
via email.<span style="mso-spacerun: yes;"> </span>For an email response, <a href="mailto:marilynbauman68@gmail.com">Click here</a>. <span style="mso-spacerun: yes;"> </span></div>
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Marilyn Baumanhttp://www.blogger.com/profile/09221864675491721708noreply@blogger.com0tag:blogger.com,1999:blog-8720084087539855728.post-6389637543290163192014-06-06T09:10:00.001-07:002014-06-06T10:58:40.228-07:00Much Ado About Everything<!--[if !mso]>
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<div class="MsoNormal">
If, like me, you attended “The Armory Show at 100,” the
exhibit held at the New-York Historical Society last year, this headline in the
<i style="mso-bidi-font-style: normal;">New York Times </i>summarizing the 1913
International Exhibition of Modern Art will not surprise you<i style="mso-bidi-font-style: normal;">: </i>“Reliving the Show that ‘Dropped like
a Bomb.’” (October 10, 2013)</div>
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<br /></div>
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Ira Glackens put it this way:</div>
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<br /></div>
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<span style="mso-tab-count: 1;"> </span>America was
never the same again!</div>
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</div>
<div class="MsoNormal" style="margin-left: .5in;">
No accounts of the Armory Show can
exaggerate the sensation.<span style="mso-spacerun: yes;"> </span>Men of God
thundered in their pulpits, warning their flocks away—which may in part explain
the huge attendance…The rich and mighty gave their servants time off to take it
all in.<span style="mso-spacerun: yes;"> </span>The man in the street, who had
never looked at art before, appeared in great numbers….</div>
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Some of the critics were delighted
because it gave them so much to write about and explain to those of lesser
perspicacity.<span style="mso-spacerun: yes;"> </span>Others were equally
infuriated, which was also good.<span style="mso-spacerun: yes;"> </span>Several
nearly burst.</div>
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</div>
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The Show was taken to Chicago, and
the hullabaloo did not diminish there.<span style="mso-spacerun: yes;">
</span>In fact, it accelerated.<span style="mso-spacerun: yes;"> </span>Students
at the Art Institute, which housed the exhibition, went so far as to burn
Matisse in effigy, and the counterfeit presentment of kind, gentle Walter
Pater, who was lecturing on the exhibition in the city, was also fed to the flames….</div>
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Everyone who wished above all to be
on the bandwagon turned into a Cubist or a Fauvist over night, and the
galleries soon blossomed with works that would have been<span style="mso-spacerun: yes;"> </span>inconceivable a short time before.” (<i style="mso-bidi-font-style: normal;">William Glackens and the Eight, </i>pp.
182-184)</div>
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<br /></div>
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I tell you this because it illustrates the climate
surrounding Glackens’ work.<span style="mso-spacerun: yes;"> </span>The
innovations of Glackens’ color I explored in the previous two posts (<a href="http://whylookatart.blogspot.com/2014/05/something-borrowed-something-new.html">Something
Borrowed—Something New?</a> and <a href="http://whylookatart.blogspot.com/2014/05/something-borrowed-something-new-contd.html">Something
Borrowed—Something New? Cont’d</a>), according to Dr. Richard Wattenmaker,
“were produced in a critical climate that was competitive if not downright
hostile. The reception of Modern art between 1910 and 1920 in the American art
world was characterized by controversy and vigorous polemics.” <span style="mso-spacerun: yes;"> </span>(<i style="mso-bidi-font-style: normal;">American
Paintings and Works on Paper in the Barnes Foundation, </i>p. 67)</div>
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<br /></div>
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Consequently, I will continue the picture by picture
examination of Renoir’s and Glackens’ work to explain what Glackens borrowed from
Renoir and what he paid back with his own “interest,” so we can objectively
evaluate Glackens’ achievement. <span style="mso-spacerun: yes;"> </span></div>
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<br /></div>
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First, look at these two pictures:</div>
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<br /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9BgMY12M5vRP5BxjxujE0yb5099OCDFOiF5w_sHWj04GIRWw5tmlVz5nwEs7YansK6-j-Xsgjij3fa7aElHEP1dDAuzu9mJaCuL5xv2EZTeeyJyob7v2yQJfd21p1CYByyP5hzMogyoo9/s1600/Renoir,+Coco,+1904,+Flint+Institute+of+Art.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9BgMY12M5vRP5BxjxujE0yb5099OCDFOiF5w_sHWj04GIRWw5tmlVz5nwEs7YansK6-j-Xsgjij3fa7aElHEP1dDAuzu9mJaCuL5xv2EZTeeyJyob7v2yQJfd21p1CYByyP5hzMogyoo9/s1600/Renoir,+Coco,+1904,+Flint+Institute+of+Art.jpg" height="400" width="395" /></a></div>
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<span style="mso-no-proof: yes;"></span></div>
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Renoir, <i style="mso-bidi-font-style: normal;">Coco, </i>1904, Flint Institute of Arts</div>
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<br /></div>
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<br /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiks2fTdydRcuxzmk_4wyi5J6Rh0XQrpxnNDBH4A_Y86_rVFw5eFgMKQ_RBRhQNwn5XDS-4RjlqBCRFqaKPgGFvDQCEkUUa7yORn9DMhFZ5qcDt7z9H7ZQxDLfkCHtG8uOZ1iE-AWKm07Ne/s1600/Glackens,+Lenna+at+One+Year,+1914,+MOAFL.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiks2fTdydRcuxzmk_4wyi5J6Rh0XQrpxnNDBH4A_Y86_rVFw5eFgMKQ_RBRhQNwn5XDS-4RjlqBCRFqaKPgGFvDQCEkUUa7yORn9DMhFZ5qcDt7z9H7ZQxDLfkCHtG8uOZ1iE-AWKm07Ne/s1600/Glackens,+Lenna+at+One+Year,+1914,+MOAFL.jpg" height="400" width="310" /></a></div>
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<span style="mso-no-proof: yes;"></span></div>
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Glackens, <i style="mso-bidi-font-style: normal;">Lenna at One Year, </i>1914, MOA/FL</div>
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<br /></div>
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I selected these two paintings because they help me answer
this question: how do Renoir and Glackens’ color volumes differ?</div>
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<br /></div>
<div class="MsoNormal">
Examine the head and shoulder in each painting by exploring
these details:</div>
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<br /></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNGn4IePqgGJFfYJp6Vz2Hm2oPleFVBkNXZp1Fn59BTxKl8E7wyKXQyoAGKH1c0Y39BVd13yjs1WTcOMP1ot0daFHDhPMtlO8Eg_pP-KrK9DOu9qaBWpFpgp8yi0a2v3xVYaEW9Ypg8f1k/s1600/Glackens,+Lenna+at+One+Year,+1914,+MOAFL+2+(3).jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNGn4IePqgGJFfYJp6Vz2Hm2oPleFVBkNXZp1Fn59BTxKl8E7wyKXQyoAGKH1c0Y39BVd13yjs1WTcOMP1ot0daFHDhPMtlO8Eg_pP-KrK9DOu9qaBWpFpgp8yi0a2v3xVYaEW9Ypg8f1k/s1600/Glackens,+Lenna+at+One+Year,+1914,+MOAFL+2+(3).jpg" height="400" width="217" /></a></div>
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<span style="height: 570px; left: 0px; margin-left: 434px; margin-top: 35px; mso-ignore: vglayout; position: absolute; width: 311px; z-index: 251658240;"><br /></span><span style="mso-no-proof: yes;"></span></div>
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</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Look at the spatial recession as the head of each figure
meets the background.<span style="mso-spacerun: yes;"> </span>In <i style="mso-bidi-font-style: normal;">Coco, </i>the space into which the side of
the rounded volume recedes is deeper than in <i style="mso-bidi-font-style: normal;">Lenna.<span style="mso-spacerun: yes;"> </span></i>The fully three-dimensional
cheek in the Renoir appears to bulge forward as the triangle of hair sets back
a<span style="mso-spacerun: yes;"> </span>deeper space.<span style="mso-spacerun: yes;"> </span>The cheek in the Glackens, with arc shaped
color units flowing laterally and adjacent to each other as they continue over
the boundary of the head into the background, meets a relatively shallow space.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Because Glackens’ flatter, airy color volume does not carry
the weight, depth and structural solidity of Renoir’s unit into the background,
it accentuates the decorative pattern of arc shaped bands, exactly what
Glackens’ interest led him to do.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
These two sketchy oils lend themselves to this
investigation.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Now look at the following two, fully developed, flower
pieces:</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhepK3_IzVr91a6HJEWLoAU8QnnpQhQacM2kGnO6RaYCCoEd-Bk5Da4yskgiGYyEh0qh9dPQuLWtZ6b65PyzZGSpnje9xFZ5X4p7bQyILaNCYKz776nznY4mlDyIsByJpTOIN0kB-O29KCd/s1600/Renoir,+Bouquet+of+Roses,+c.+1882,+Barnes.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhepK3_IzVr91a6HJEWLoAU8QnnpQhQacM2kGnO6RaYCCoEd-Bk5Da4yskgiGYyEh0qh9dPQuLWtZ6b65PyzZGSpnje9xFZ5X4p7bQyILaNCYKz776nznY4mlDyIsByJpTOIN0kB-O29KCd/s1600/Renoir,+Bouquet+of+Roses,+c.+1882,+Barnes.jpg" height="400" width="328" /></a></div>
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<span style="mso-no-proof: yes;"></span></div>
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Renoir, <i style="mso-bidi-font-style: normal;">Bouquet of Roses, </i>c. 1882, Barnes</div>
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</div>
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</div>
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</div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4pGomVecwBjPSpJtRbQjvQo89TybJkPm6t7nSbHuwtRmVfTdFylxLAhJAcAQCO-wsDEL0ERhEj1WU1g0fGd7NmipOZM0s4q4RGsX32k4xSOApIuGuzuuZqLSLFOHgFChXZq6kJ8O-7IdZ/s1600/Glackens,+Zinneas+in+a+Striped+Blue+Vase,+c.+1915,+Barnes.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4pGomVecwBjPSpJtRbQjvQo89TybJkPm6t7nSbHuwtRmVfTdFylxLAhJAcAQCO-wsDEL0ERhEj1WU1g0fGd7NmipOZM0s4q4RGsX32k4xSOApIuGuzuuZqLSLFOHgFChXZq6kJ8O-7IdZ/s1600/Glackens,+Zinneas+in+a+Striped+Blue+Vase,+c.+1915,+Barnes.jpg" height="400" width="267" /></a></div>
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<span style="mso-no-proof: yes;"></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
Glackens, <i style="mso-bidi-font-style: normal;">Zinnias in a Striped Blue Vase, </i>c. 1915,
Barnes</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
These two paintings hang in the Barnes Foundation, in Room 6
to the far left of the West Wall, one above the other, making comparison easy.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
At first glance, you may be thinking, “Look at the vases;
that Glackens’ vase sure looks fully three-dimensional.”<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
So it does.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
But examine its edge.<span style="mso-spacerun: yes;">
</span>As the color unit of vase becomes the color unit of tabletop and
background, what happens to the space?<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Then look at the Renoir vase, and do the same thing.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Do you notice the deeper space in the Renoir?</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Now do the same experiment with these two cropped and
enlarged images of the flowers:</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiS0Mda1x6TCfgybzxU0KugRvNzvr5LbtJwWf7KDDesaIsStN2wywcPIKyNX8WJ3bHGbIdqigvPRVusxPtGDY3yOsdA87vlizj9jD7TWbMaZpJKGersa1BlczluiNXOi2x5TC3a0Tie8nyw/s1600/Renoir,+Bouquet+of+Roses,+c.+1882,+Barnes+2+(2).jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiS0Mda1x6TCfgybzxU0KugRvNzvr5LbtJwWf7KDDesaIsStN2wywcPIKyNX8WJ3bHGbIdqigvPRVusxPtGDY3yOsdA87vlizj9jD7TWbMaZpJKGersa1BlczluiNXOi2x5TC3a0Tie8nyw/s1600/Renoir,+Bouquet+of+Roses,+c.+1882,+Barnes+2+(2).jpg" height="400" width="246" /> </a></div>
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Renoir </div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWkht1EhUVRUD8MCnVCbDzcErWrP9sDL-Gh-8w1EF_LjzNqGEWH57zJvthhY7mwBLXKr8VdbAeoVoz-JWYtv9a1-EIXOU12x9GuiVYSvEEJEmp2m7udZ2DkfZ27K9-1Jum2IVL6ZSE1x8R/s1600/Glackens,+Zinneas+in+a+Striped+Blue+Vase,+c.+1915,+Barnes+2+(2).jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWkht1EhUVRUD8MCnVCbDzcErWrP9sDL-Gh-8w1EF_LjzNqGEWH57zJvthhY7mwBLXKr8VdbAeoVoz-JWYtv9a1-EIXOU12x9GuiVYSvEEJEmp2m7udZ2DkfZ27K9-1Jum2IVL6ZSE1x8R/s1600/Glackens,+Zinneas+in+a+Striped+Blue+Vase,+c.+1915,+Barnes+2+(2).jpg" height="400" width="352" /></a></div>
<div class="MsoNormal">
<span style="height: 410px; margin-left: 502px; margin-top: 290px; mso-ignore: vglayout; position: absolute; width: 253px; z-index: 251659264;"><br /></span><span style="mso-no-proof: yes;"></span></div>
<div class="MsoNormal" style="text-align: center; text-indent: 0.5in;">
<span style="mso-spacerun: yes;"> </span>Glackens<span style="mso-tab-count: 7;"> </span><span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<br /></div>
<div class="MsoNormal">
Glackens adapted Renoir’s structural solidity, its lush
richness of color and atmosphere, and its heavy fluidity to his interest and
intent: uniform color areas rather than color chords; a stress upon the pattern
of areas; shallow and clear atmospheric space; and vivid, sharp color contrasts
derived from Matisse and oriental art.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Examine the following drawing.</div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguRHBZfKJSmlzz_SreLJ7QG6NyTKxUwzmnj0gfa8lkA9FnArbzzrIPy_770XoNvwHeixDwW023UMYx_BSNYdwPsN1S2e2sImMR00jI54TrcCamFilASGDtpgjBkZ19RbkmLkEdkk8CvoGI/s1600/Glackens,+Eight+Figures,+c.+1910,+Barnes.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguRHBZfKJSmlzz_SreLJ7QG6NyTKxUwzmnj0gfa8lkA9FnArbzzrIPy_770XoNvwHeixDwW023UMYx_BSNYdwPsN1S2e2sImMR00jI54TrcCamFilASGDtpgjBkZ19RbkmLkEdkk8CvoGI/s1600/Glackens,+Eight+Figures,+c.+1910,+Barnes.jpg" height="328" width="400" /></a></div>
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<span style="mso-no-proof: yes;"></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
Glackens, <i style="mso-bidi-font-style: normal;">Eight Figures, </i>c. 1910, Black crayon
with gouache on brown wove paper, Barnes</div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal">
These sketchily drawn figures give the gist of movement and
liveliness, along with a terse depiction of brisk or slow, through the character
of Glackens’ line and compositional movement (look at the figure on the lower
right moving back into space).</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The difference, therefore, between Glackens and Renoir’s
work, is concisely stated by Violette de Mazia: “… a matter of their respective
adaptation of means to different ends: for Glackens, the principal concern was
illustration, although it never fails to be decoratively presented and
expressively stated; for Renoir, it was the merging of all three
aspects—decoration, illustration, and expression of broad human qualities—which
in his form stand on a par with each other.” (“The Case of Glackens vs.
Renoir,” p. 23)</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Dr. Richard Wattenmaker sums it up this way:</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
William Glackens’ work, his
paintings and his drawings, provides us with a deep sense of aesthetic
satisfaction not to be derived from that of any other artist preceding or
following him, on condition, however, that we do not demand of Glackens what he
does not intend to give—for instance, the warmth and full-bodied color volumes
of a Renoir, or the bold and exotic color decorativeness of a Matisse—but,
rather, look for what was Glackens’ very own—the picturesque aliveness of
everyday things and episodes caught with an eye and a mind quick to observe and
absorb and, with as quick, sure and knowing a hand, transferred onto the canvas
or paper by way of those tersely descriptive, gently crisp touches and lines of
his, and the color itself that bespeaks, by its own sparkle and vivacity, the
unmistakable and inimitable joy of life that was Glackens’. (<i style="mso-bidi-font-style: normal;">The Art of William Glackens, </i>University
Art Gallery, Bulletin, Vol. I: No.1, Rutgers, The State University, 1967, p.
11)</div>
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<br /></div>
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<span style="mso-tab-count: 1;"> </span></div>
Marilyn Baumanhttp://www.blogger.com/profile/09221864675491721708noreply@blogger.com0tag:blogger.com,1999:blog-8720084087539855728.post-5810611174648542062014-05-28T11:41:00.002-07:002014-05-28T11:45:39.845-07:00Something Borrowed--Something New? Cont'd<!--[if !mso]>
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<br />
<div class="MsoNormal">
In the previous post, <a href="http://whylookatart.blogspot.com/2014/05/something-borrowed-something-new.html">Something
Borrowed—Something New?</a>, I mentioned Dr. Richard Wattenmaker’s rebuke of critics
who pointed out Glackens’ debt to Renoir but did not compare their pictures.<span style="mso-spacerun: yes;"> </span>He argued that “no writer during [Glackens’]
lifetime ever made an explicit comparison with a specific Renoir, such as, for
example, his <i style="mso-bidi-font-style: normal;">Madame Charpentier and Her
Children, </i>1878 (acquired in 1907 by the Metropolitan Museum of Art), which
influenced the composition and scale of Glackens’s <i style="mso-bidi-font-style: normal;">Family Group </i>(National Gallery of Art) and one of Glackens’s three
entries in the Armory Show.<span style="mso-spacerun: yes;"> </span>This failure
to identify exactly what the American had adapted from Renoir is a lacuna that
has persisted in Glackens criticism.”</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Dr. Wattenmaker, throughout his career, has carefully and
elaborately illustrated exactly what Glackens borrowed from Renoir and how
Glackens made it his own.<span style="mso-spacerun: yes;"> </span>Dr. Barnes and
Violette de Mazia did as well.<span style="mso-spacerun: yes;"> </span>However,
as far as I know, no one compared the two pictures Dr. Wattenmaker cited, so I
decided I would.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Here is Renoir’s <i style="mso-bidi-font-style: normal;">Madame
Charpentier and Her Children:</i></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHZdsSwNTX39CC0so0lxKz4jjKsAJvXcUsxUY1DVA5ndE6R-VHnNmAMWJajYYtak5yhLRPIIx0a1M8PXEIRr4iiur7PhB7vztvTZGkyC6eLSlNVZZmFnj2u-R0HYXbAYxPUTYbpAoxoIaN/s1600/Renoir,+Madame+Charpentier+and+Her+Children,+1878,+Met.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHZdsSwNTX39CC0so0lxKz4jjKsAJvXcUsxUY1DVA5ndE6R-VHnNmAMWJajYYtak5yhLRPIIx0a1M8PXEIRr4iiur7PhB7vztvTZGkyC6eLSlNVZZmFnj2u-R0HYXbAYxPUTYbpAoxoIaN/s1600/Renoir,+Madame+Charpentier+and+Her+Children,+1878,+Met.jpg" height="320" width="400" /></a></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<a href="http://library.artstor.org/library/secure/ViewImages?id=/DFMaiMuOztdLS0wdD5%2BQXgp&source=ppt"><span style="color: windowtext; mso-no-proof: yes; text-decoration: none; text-underline: none;"><span style="mso-ignore: vglayout;"></span></span></a></div>
<div align="center" class="MsoNormal" style="text-align: center;">
Renoir, <i style="mso-bidi-font-style: normal;">Madame Charpentier and Her Children, </i>1878,
Met</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Here is Glackens’ <i style="mso-bidi-font-style: normal;">Family
Group:</i></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgdbz45QQFlVrUjEEkO9ysCuBm-5UPxP1KXI9EVv5789uI90-yf3dLKkS1GW7LQJHZcTkYmEjrVckEeqfXC7Da2hb-GvbR0wsBV4e81Gnc4zQT3bZr61AF_ON9oAGDj_5Dm9mPjAJSDFDo/s1600/Glackens,+Family+Group,+1910-11,+NGA+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgdbz45QQFlVrUjEEkO9ysCuBm-5UPxP1KXI9EVv5789uI90-yf3dLKkS1GW7LQJHZcTkYmEjrVckEeqfXC7Da2hb-GvbR0wsBV4e81Gnc4zQT3bZr61AF_ON9oAGDj_5Dm9mPjAJSDFDo/s1600/Glackens,+Family+Group,+1910-11,+NGA+2.jpg" height="340" width="400" /></a></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="mso-no-proof: yes;"></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
Glackens, Glackens’s <i style="mso-bidi-font-style: normal;">Family Group, </i>1910-11, NGA</div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal">
Before we go any further, I will share with you what Dr.
Barnes wrote about the Renoir painting.<span style="mso-spacerun: yes;">
</span>He said, “The general effect is conventional, banal, unexciting, and the
color-ensemble is dull.<span style="mso-spacerun: yes;"> </span>The blacks…are
here mere areas of dull paint, unappealing as color and unsuccessful in
rendering textural quality in either the woman’s gown or the dog’s fur.” (<i style="mso-bidi-font-style: normal;">The Art of Renoir, </i></div>
<div class="MsoNormal">
p. 398).<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The only unit in the picture Dr. Barnes complimented is the
still-life grouping of objects at the upper right.<span style="mso-spacerun: yes;"> </span>Here it is cropped and enlarged:</div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhObum3nbT3FaFtXEB1KmtdTzb1LAXrXG-Ip-R8u70SG8sZaR2VVXWMTULkDVUSLjjW5pEMvzRtj35mugtdepHIoAbEdQ5jwl7ICxu76TU6LpyosUQe8NDNrZZ1nUkREMSspmU8lGcRnlhZ/s1600/Renoir,+Madame+Charpentier+and+Her+Children,+1878,+Met+(3).jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhObum3nbT3FaFtXEB1KmtdTzb1LAXrXG-Ip-R8u70SG8sZaR2VVXWMTULkDVUSLjjW5pEMvzRtj35mugtdepHIoAbEdQ5jwl7ICxu76TU6LpyosUQe8NDNrZZ1nUkREMSspmU8lGcRnlhZ/s1600/Renoir,+Madame+Charpentier+and+Her+Children,+1878,+Met+(3).jpg" height="400" width="301" /></a></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="mso-no-proof: yes;"></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Dr. Barnes said it is the “sole source of real aesthetic
pleasure in the picture…particularly in the distribution and relation in space
of its various units—the objects on the table, the chair, the legs of the chair
and table, the plane of the floor, the curtain at the back, and the
well-realized space receding underneath the table back into the distance behind
the curtain.” (p. 399) </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Dr. Barnes declared the picture a “typical conventional
group-portrait, plastically weak, and only mildly pleasing as a decorative
illustration.” <span style="mso-spacerun: yes;"> </span>Do you agree?</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
To find out, let’s look at it upside down:</div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHBTC46-La4jpLkFfzJ0JFNFbGasT-Ho1ixuOz-4yEHNQshTvhLyDvUQ8YJz5dYbzh8nFEhkEsSANU9I74-iZfmEhKWXfXAw9z9Nu-5_C_mHCIKTBFau2VbIm8Eg1o3KSB0u3m2GB8SjgM/s1600/Renoir,+Madame+Charpentier+and+Her+Children,+1878,+Met+(2).jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHBTC46-La4jpLkFfzJ0JFNFbGasT-Ho1ixuOz-4yEHNQshTvhLyDvUQ8YJz5dYbzh8nFEhkEsSANU9I74-iZfmEhKWXfXAw9z9Nu-5_C_mHCIKTBFau2VbIm8Eg1o3KSB0u3m2GB8SjgM/s1600/Renoir,+Madame+Charpentier+and+Her+Children,+1878,+Met+(2).jpg" height="320" width="400" /></a></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="mso-no-proof: yes;"></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The three figures establish a central pyramidal unit balancing
a diagonal sequence of volumes extending across the canvas from the still-life
grouping now on the lower left to the dog now on the upper right. <span style="mso-spacerun: yes;"> </span>That pyramidal grouping slopes inward on both
sides.<span style="mso-spacerun: yes;"> </span>The black/white contrasts of the
woman’s dress, dog’s fur, and the children’s socks and shoes rhythmically
repeat the ripples of white trim on the girl’s and woman’s dresses as well as
the dog’s fur. <span style="mso-spacerun: yes;"> </span>These squiggly decorative
units contrast with the vertical bands in the screen and the geometric pattern
in the floor.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Examine this detail of the child on the couch:</div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
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<span style="mso-no-proof: yes;"></span></div>
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<br /></div>
<div class="MsoNormal">
Shadows are slightly bluish-gray, the flesh shiny-smooth,
and while the volume is fully three-dimensional, it is slight and without
internal luminosity.<span style="mso-spacerun: yes;"> </span>The curls in the
hair echo the curls of the dress’s center and contrast with the more crinkly
decorative whites of all the dresses. Similarly, short stripes ripple the
socks, enliven the sofa’s pattern, and flute the folds in the figure’s <span style="mso-spacerun: yes;"> </span>dress’s and hair as well as the dog’s fur, but
Dr. Barnes argues this “sort of painting represents the bad influence of
Delacroix in color and of Monet in technique.” <span style="mso-spacerun: yes;"> </span>I translate this to mean the pattern is “on”
the surface rather than integrated into the color volumes, more a “showing off”
of brushwork rather than a unified expressive statement. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Glackens’ picture measures 71 15/16 x 84 inches; Renoir’s 60
½ by 74 ¾.<span style="mso-spacerun: yes;"> </span>When the Met acquired
Renoir’s painting in 1907, it was the most recent work in the museum’s
collection and received extensive publicity, so it could have influenced the
scale of Glackens’ painting as well as its composition. <span style="mso-spacerun: yes;"> </span></div>
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<br /></div>
<div class="MsoNormal">
If it did, how?</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Look at it upside down.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhf6lT3xwObomI7jdRLRkheMVM6KinwNmyilUYxVoQebal5oolOx6vavW12k24wAV2_qLfG2914EJv0pXPh2OkBde78LLioxSmb3ORcou01frH5v1r-d-wN50N6mKhQi_NtcqFvMt9g1-s-/s1600/Glackens,+Family+Group,+1910-11,+NGA+2+(3).jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhf6lT3xwObomI7jdRLRkheMVM6KinwNmyilUYxVoQebal5oolOx6vavW12k24wAV2_qLfG2914EJv0pXPh2OkBde78LLioxSmb3ORcou01frH5v1r-d-wN50N6mKhQi_NtcqFvMt9g1-s-/s1600/Glackens,+Family+Group,+1910-11,+NGA+2+(3).jpg" height="340" width="400" /></a></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="mso-no-proof: yes;"></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal">
From the point of view of subject, this picture also organizes
figures in a room.<span style="mso-spacerun: yes;"> </span>Ira Glackens, when he
was five years old, and depicted in the center, said he was taken to the 1913 Armory
Show.<span style="mso-spacerun: yes;"> </span>He wrote, “I do not recall seeing,
though it was surely pointed out to me, my father’s large canvas “Family
Group,” with myself looking like a monkey in it.” (<i style="mso-bidi-font-style: normal;">William Glackens and the Eight, </i>1957, p. 182)</div>
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<br /></div>
<div class="MsoNormal">
Monkey or not, the four figures in this picture, whether
seated, standing, or leaning, bend, turn, and rise upwards with the graceful,
delicate elegance of a luminous praying mantis. <span style="mso-spacerun: yes;"> </span>The figure now on the left, unlike Renoir’s
Madame Charpentier, bends inward, not outward.<span style="mso-spacerun: yes;">
</span>The chair back, now on the right, arcs inward more dramatically than the
girl in Renoir’s painting. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
A pervasive colorfulness prevails, a rich brightness and vibrancy
in the hues and tones.<span style="mso-spacerun: yes;"> </span>Acidic greens,
deep blues, and orange-reds produce vivid color, a quality Violette de Mazia
says has a “sharp, at times even a slightly piercing acidity, a bite and an
exotic, piquant, tangy flavor usually associated with oriental color effects.”
(“The Case of Glackens vs. Renoir,” p. 10) The green in the face and neck in
the diagonal figure now to the right imparts a “phosphorescent gleam,” a
translucency and lightness that contrasts with the hot reds and yellows
elsewhere in the picture.<span style="mso-spacerun: yes;"> </span>De Mazia says,
“All these positive features are novel, distinctive, of an aesthetic character
and Glackens’ own.” (p. 12)</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Three-dimensionality in the Glackens is slighter, the
volumes lighter, and that puts the emphasis on color areas functioning as units
of decorative pattern.<span style="mso-spacerun: yes;"> </span>Unlike the fluid,
compositional poise in the Renoir, where one color unit flows into another, in
Glackens the beat is light, gentle, and quick, more like a staccato tapping
than a legato flow, similar to the rat-a-tat-tat made by the red belly
woodpecker on the tree outside my bedroom window that wakes me up in the
morning.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Look at this cropped and enlarged lower section of the
painting:</div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrK1UatIwBel7Dfo0g5orsTFvx2cdbA6cDuFRBwUPeFx_0eFkTT8pzDDuYsX4j0C9CcBoqMctiglSZmCr0aOzLoNwfMayM0Mj5fxdFLGQLz2Djufunk-capkR3ov4fmZ83d8r_wfE-Dnsd/s1600/Glackens,+Family+Group,+1910-11,+NGA+2+(2).jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrK1UatIwBel7Dfo0g5orsTFvx2cdbA6cDuFRBwUPeFx_0eFkTT8pzDDuYsX4j0C9CcBoqMctiglSZmCr0aOzLoNwfMayM0Mj5fxdFLGQLz2Djufunk-capkR3ov4fmZ83d8r_wfE-Dnsd/s1600/Glackens,+Family+Group,+1910-11,+NGA+2+(2).jpg" height="87" width="400" /></a></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="mso-no-proof: yes;"></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Notice the patterned areas of floor and tiles.<span style="mso-spacerun: yes;"> </span>Examine the space under the chair legs, and around
and between the feet—especially the four feet shown in the middle.<span style="mso-spacerun: yes;"> </span>Check the series of color units and spatial
relationships to the right.<span style="mso-spacerun: yes;"> </span>A fan-shaped
repoussoir constructed from two color units of the dress (the bright red and
the striped cerulean/blue and white apron) push back the pocket of space under
the chair leg.<span style="mso-spacerun: yes;"> </span>This orchestration of
patterned areas, gentle movement, and vivid color in intricate spatial
relationships sets the motif of the entire painting.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Finally, examine the center of Glackens’ picture with the
still life in the upper right of Renoir’s:</div>
<div class="MsoNormal">
<br /></div>
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</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWLXpb0fIbykXB35KWdac57Cl9yMnQv8cdIU0MbVv1QHnmrItGrDPbiWr7NS1I_2C-s0aYXi1ACFlb5I6fE1UxsnYOyS1wwZoD_jVY3Z-9vqX1xB_x-_9GrrWkxWrkp44rMI6LDYzThDr3/s1600/Renoir,+Madame+Charpentier+and+Her+Children,+1878,+Met+(3).jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWLXpb0fIbykXB35KWdac57Cl9yMnQv8cdIU0MbVv1QHnmrItGrDPbiWr7NS1I_2C-s0aYXi1ACFlb5I6fE1UxsnYOyS1wwZoD_jVY3Z-9vqX1xB_x-_9GrrWkxWrkp44rMI6LDYzThDr3/s1600/Renoir,+Madame+Charpentier+and+Her+Children,+1878,+Met+(3).jpg" height="400" width="301" /></a></div>
<a href="file:///C:/Users/Marilyn/AppData/Local/Temp/msohtmlclip1/01/clip_image015.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXrFz8Aw46oB8pHzqdBKjNUlSDhDTTixjgBglgcoPoKZRjBllsgfurzivT8kw_i1icMSNgfb4N-bVDmhpgyYvo42mAf3fSsKNiroJvkuV1KjncB0rKf_112uoehPNu0_TRAAd9Z3zwJeF0/s1600/Glackens,+Family+Group,+1910-11,+NGA+2+(6).jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXrFz8Aw46oB8pHzqdBKjNUlSDhDTTixjgBglgcoPoKZRjBllsgfurzivT8kw_i1icMSNgfb4N-bVDmhpgyYvo42mAf3fSsKNiroJvkuV1KjncB0rKf_112uoehPNu0_TRAAd9Z3zwJeF0/s1600/Glackens,+Family+Group,+1910-11,+NGA+2+(6).jpg" height="400" width="126" /></a><br />
<div class="MsoNormal">
<span style="height: 500px; margin-left: 329px; margin-top: 53px; mso-ignore: vglayout; position: absolute; width: 378px; z-index: 251658240;"></span><span style="mso-no-proof: yes;"></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In the Glackens’, orange/yellow/red color units recede to
the triangular pulled-back curtains.<span style="mso-spacerun: yes;">
</span>Each color unit: (from the ultramarine/alizarin dress covering the
crossed legs which echo the triangular opening in the background; to the standing
boy wearing a cerulean tunic while leaning on a hot orange table top and backed
by the orange/cerulean blue pattern of the chair) carries the eye, like a
series of tightly orchestrated repoussoir units, to a glowing orange-yellow-cerulean-ultramarine
open space beyond the curtains.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In the Renoir, the spatial recession moves from the
foreground slant of the black dress to the rich, warmth of luminous gold, red,
tans and deep blues, in an equally geometric series of “steps and risers” (look
at the golden horizontal base of the table, the seat of the chair, the shelf
and the table top) to the dark space created by the pulled-back tapestry.<span style="mso-spacerun: yes;"> </span>However, in the Renoir, each color unit also
stresses its illustrative identity: the vase holding the flowers has a silky
smooth surface gleaming with ceramic hardness; the decanter bubbles with metallic
golden highlights; the wicker chair’s roughness contrasts with the curtain’s
heavy wooliness.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Perhaps the most striking and obvious difference defining each
artist’s interest occurs in the vase of flowers.<span style="mso-spacerun: yes;"> </span>In the Glackens’, the sharp, cool green of
the cone-shaped and flattened vase contrasts with the vivid, red/orange of the flattened,
fluted cone-shaped flowers.<span style="mso-spacerun: yes;"> </span>In the
Renoir, the silky-smooth, blue-patterned fully rounded vase holds a series of
pink, white, lavender, and green three-dimensional, puffy, soft, shimmering
color units.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Violette de Mazia described the difference this way: </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
“[In Renoir], the pattern as such
appears much less pronounced than in Glackens.<span style="mso-spacerun: yes;">
</span>There are two obvious reasons for this: first, the areas in Renoir are
less compartmental (<i style="mso-bidi-font-style: normal;">i.e., </i>their boundaries
are less sharply defined) because of the continuous, free intermingling of the
color-chords as they flow from one area into adjacent areas; and, secondly, the
pattern of these areas plays a relatively inconspicuous role in the more
conspicuous three-dimensional compositional pattern made up of the color
volumes and their colorful intervals as their rhythmic sequence recedes from
foreground to deep distance.<span style="mso-spacerun: yes;"> </span>In other
words, a Renoir unit is so constructed and so related in space to its
companions that our perception is made to focus upon the shape of the
three-dimensional unit rather than of the two-dimensional area it occupies on
the canvas.<span style="mso-spacerun: yes;"> </span>In Glackens, the tendency is
towards the opposite effect.” (“The Case of Glackens vs. Renoir,” p. 13)</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Before Dr. Barnes published <i style="mso-bidi-font-style: normal;">The Art in Painting </i>in 1925, he sent Glackens the manuscript
version of his essay evaluating Glackens’ work.<span style="mso-spacerun: yes;">
</span>Glackens responded, in part: “My Renoir influence is obvious, so I shant
mention it—except that I have found out that the pursuit of color is hard on
drawing just as the pursuit of drawing is hard on color.” (Quoted in
Wattenmaker, <i style="mso-bidi-font-style: normal;">American Paintings and Works
on Paper in the Barnes Foundation, </i>p.69)</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
So far, we have merely compared and contrasted two
paintings.<span style="mso-spacerun: yes;"> </span>In the next post, I will compare
<span style="mso-spacerun: yes;"> </span>Glackens’ and Renoir’s drawings and concentrate
on line and space to show how Glackens perfected his ability to express what
interested him: active movement, colorful light, vivid color, and sparkle.<span style="mso-spacerun: yes;"> </span>In so doing, I will further define and
evaluate the visual ideas Glackens’ adapted from Renoir as well as other
artists.</div>
Marilyn Baumanhttp://www.blogger.com/profile/09221864675491721708noreply@blogger.com0tag:blogger.com,1999:blog-8720084087539855728.post-51623658970395630922014-05-09T06:19:00.000-07:002014-05-09T06:19:01.605-07:00Something Borrowed--Something New?<!--[if !mso]>
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</div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal">
This post heralds an exploration of William Glackens’
work.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In a larger sense, however, I want to evaluate Dr. Barnes’
summary of American painting. In 1925, in <i style="mso-bidi-font-style: normal;">The
Art in Painting,</i> he said, “…painting in America has followed so closely the
European traditions that a distinctively American form of painting does not
exist.” (336).</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
To this, add the following.<span style="mso-spacerun: yes;">
</span>Dr. Barnes and William Glackens often looked at pictures together.<span style="mso-spacerun: yes;"> </span>Barnes acknowledged his “tutelage” by
Glackens in 1915, when he said, “The most valuable single educational factor to
me has been my frequent association with a life-long friend who combines
greatness as an artist with a big man’s mind.”<span style="mso-spacerun: yes;">
</span>(Quoted in “How to Judge a Painting,” <i style="mso-bidi-font-style: normal;">Arts and Decoration </i>5, no. 6 [April 1915], 248).</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
As you can tell, this is an ambitious undertaking, and
unless some other topic catches my interest, I expect to pursue it for the next
few months, motivated also by the necessity to build a course in Glackens’ work
to coincide with the exhibit opening at the Barnes Foundation on November 8,
2014.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Violette de Mazia provided, as she called it, a
“Glackenspiel,” a four-hour class lecture later published in 1971 as a 27-page
essay, “The Case of Glackens vs. Renoir.” (<i style="mso-bidi-font-style: normal;">The
Barnes Foundation Journal of the Art Department, </i>Vol. II, No. 2, 3-30).</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In this essay, she did what Dr. Richard Wattenmaker said few
writers pointing out Glackens’ debt to Renoir did (see <i style="mso-bidi-font-style: normal;">American Paintings and Works on Paper in The Barnes Foundation, </i>67-68).<span style="mso-spacerun: yes;"> </span>De Mazia described and evaluated Glackens’
work by comparing, picture to picture, what Glackens borrowed from Renoir and
other painters.<span style="mso-spacerun: yes;"> </span>She also showed how Glackens
transformed his borrowings into something new.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
That’s what we will do—picture to picture—the objective way
to determine creativity.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I decided to start with the following two paintings because,
in March, when I saw Glackens’ picture, <i style="mso-bidi-font-style: normal;">Lenna
Painting, </i>in the permanent collection of the Museum of Art Fort Lauderdale
(MOA/FL), I immediately connected it to Renoir’s painting <i style="mso-bidi-font-style: normal;">Child Reading </i>at the Barnes Foundation.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Here they are:</div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbWxnfe1ILJcgoHr5DSrJ_avSnq1N5g5U3CWOjg7anfj2j26kNEawvZKU6Ta73lX9x8hUzj0f_qjWMJvbdhdPirT2-mj_v8R6bB-d96RQMZT4_HSN7DjOziMlwOSxKhXNhvmPTqEUuad2M/s1600/Glackens,+Lenna+Painting,+1918,,+MOAFL.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbWxnfe1ILJcgoHr5DSrJ_avSnq1N5g5U3CWOjg7anfj2j26kNEawvZKU6Ta73lX9x8hUzj0f_qjWMJvbdhdPirT2-mj_v8R6bB-d96RQMZT4_HSN7DjOziMlwOSxKhXNhvmPTqEUuad2M/s1600/Glackens,+Lenna+Painting,+1918,,+MOAFL.jpg" height="320" width="400" /></a></div>
<div class="MsoNormal">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
Glackens, <i style="mso-bidi-font-style: normal;">Lenna Painting, </i>1918, MOA/FL</div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSZXV7Ryn3S3mShGRACBb7f-rDyVF-byO-p_V9uZFiWB_GhpuRS_64eK_yJXdua3SmF_biqEsYqRpd23my5YDkbl6tCBauqUs-Qj2yn8j7KOww-RIHgpPQ2UzWHsnCKPuwRUnJCMW4MYvv/s1600/Renoir,+Child+Reading,+early+1890s,+bf51_i8r+(2).jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSZXV7Ryn3S3mShGRACBb7f-rDyVF-byO-p_V9uZFiWB_GhpuRS_64eK_yJXdua3SmF_biqEsYqRpd23my5YDkbl6tCBauqUs-Qj2yn8j7KOww-RIHgpPQ2UzWHsnCKPuwRUnJCMW4MYvv/s1600/Renoir,+Child+Reading,+early+1890s,+bf51_i8r+(2).jpg" height="321" width="400" /></a></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span style="mso-tab-count: 3;"> </span>Renoir,
<i style="mso-bidi-font-style: normal;">Child Reading, </i>early 1890s, Barnes </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
At first glance, those who said Glackens imitated Renoir had
a point.<span style="mso-spacerun: yes;"> </span>The subject facts are
remarkably similar: a young girl with flowing auburn hair leans on her arms and
paints a picture or reads a book.<span style="mso-spacerun: yes;"> </span>Both
compositions profile the “girl” in a pyramidal composition. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Upside down, however, the differences become apparent:</div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRzLjXrx07W31zIiVqJA3BFTWGlxIRMv6-aGUDPBAsUBeRhg8UBGa_TUCfAaZXJModwXepQ9oYmv-M4I3Rl3wXRO5unrcYP5w0JnYE7_AQRUxPdHgc3qPNTau-x-qsoQpjc033ny1ssDOa/s1600/Glackens,+Lenna+Painting,+1918,,+MOAFL+(3).jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRzLjXrx07W31zIiVqJA3BFTWGlxIRMv6-aGUDPBAsUBeRhg8UBGa_TUCfAaZXJModwXepQ9oYmv-M4I3Rl3wXRO5unrcYP5w0JnYE7_AQRUxPdHgc3qPNTau-x-qsoQpjc033ny1ssDOa/s1600/Glackens,+Lenna+Painting,+1918,,+MOAFL+(3).jpg" height="320" width="400" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijiHWnqKeh19Efh_7MwYuSfSE7M5p9LJiGLgkrmoDKqNW4y_qECssSmKnmrgkD0e71JYRZF8ZqooOT2jXCaf7D0X-3fdssfwTwcufm0PFQctPpaOArLIOzWatUIdLt1fOEnSjcX3ruZEiQ/s1600/Renoir,+Child+Reading,+early+1890s,+bf51_i8r+(3).jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijiHWnqKeh19Efh_7MwYuSfSE7M5p9LJiGLgkrmoDKqNW4y_qECssSmKnmrgkD0e71JYRZF8ZqooOT2jXCaf7D0X-3fdssfwTwcufm0PFQctPpaOArLIOzWatUIdLt1fOEnSjcX3ruZEiQ/s1600/Renoir,+Child+Reading,+early+1890s,+bf51_i8r+(3).jpg" height="321" width="400" /></a></div>
<br /><div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<br /><div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Upside down, the Glackens' picture contrasts a fiery red
background with a cool gray-blue “blouse,” flattens volumes set in shallow
space, sandwiches objects, and arranges color units in circular motifs .</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The Renoir picture orchestrates a vertically oriented
background with a horizontally raised foreground.<span style="mso-spacerun: yes;"> </span>This squeezes the figure into a
clothespin-like taut volume of soft, round, warm, luminous color in relatively
deeper space.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
After I explored the paintings upside down, I decided to
start with the “hair.”<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Why?</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I noticed only similarities in “style,” in length, and in
brushstrokes.<span style="mso-spacerun: yes;"> </span>I wondered if, indeed,
this was going to be a very short post. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Here are both color units that were hair:</div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghQimDMXRCBo7zw8XnsLAXsf9PaT8Id1trt6A4S9r-2dw1pAl4CrE4nWS4tov64o3p-pxZcCvaYgdBJqrcrPfqJA6vGi7NMDPsVars2nMIHIsKc7Ewnpttm61Z_OHNuxizWy-XnBrn2qCy/s1600/Glackens,+Lenna+Painting,+1918,,+MOAFL+(4).jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghQimDMXRCBo7zw8XnsLAXsf9PaT8Id1trt6A4S9r-2dw1pAl4CrE4nWS4tov64o3p-pxZcCvaYgdBJqrcrPfqJA6vGi7NMDPsVars2nMIHIsKc7Ewnpttm61Z_OHNuxizWy-XnBrn2qCy/s1600/Glackens,+Lenna+Painting,+1918,,+MOAFL+(4).jpg" height="262" width="400" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZsKtBN_j-dUtld4hShaSkiweFhFuxaaTlSkWA50OeEW4vWjg0jVBcKz8Zekj6HYlnjj1VuTo-4SONCBSfvBVW9ovubwOQBwkq14JGSYxm_l5oJ4HYnuCfwTctGUKKaKHwex8JghTEJI-1/s1600/Renoir,+Child+Reading,+early+1890s,+bf51_i8r+(6).jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZsKtBN_j-dUtld4hShaSkiweFhFuxaaTlSkWA50OeEW4vWjg0jVBcKz8Zekj6HYlnjj1VuTo-4SONCBSfvBVW9ovubwOQBwkq14JGSYxm_l5oJ4HYnuCfwTctGUKKaKHwex8JghTEJI-1/s1600/Renoir,+Child+Reading,+early+1890s,+bf51_i8r+(6).jpg" height="363" width="400" /></a></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="mso-no-proof: yes;"><br /></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal">
A part divides the “top of the head” color unit in the
Glackens.<span style="mso-spacerun: yes;"> </span>The left side of the part curves
like a parenthesis to the right; the right side, wider and rounder, bulges like
a deflated balloon.<span style="mso-spacerun: yes;"> </span>On the left,
“strands” of color lines hang in space.<span style="mso-spacerun: yes;">
</span>On the right, strands of color ripple and flow diagonally downwards from
the soft mound above in brown, green, red, tan and orange “strands.” <span style="mso-spacerun: yes;"> </span>The effect is wooly, like that of a Raggedy
Ann doll.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
A banana-like volume and a larger triangular mound divide the
“top of the head” color unit in the Renoir.<span style="mso-spacerun: yes;">
</span>A tiny wisp of a curl hangs down on the far left.<span style="mso-spacerun: yes;"> </span>A softly curvilinear diagonal cascades the
remaining “hair” downward to the right, with an arabesque tendril hugging the
shoulder before the color unit continues its downward flow.<span style="mso-spacerun: yes;"> </span>The “hair” unit shimmers with highlights of
gold, pink, and soft orange contrasted with darker shades of brown and black.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Since both cropped pictures display the faces as well, I
studied them next.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Here the differences are more pronounced.<span style="mso-spacerun: yes;"> </span>The Glackens’ profile is flatter, more
sharply delineated, and closely related to both the background red and the shoulder.<span style="mso-spacerun: yes;"> </span>A slight, green-gray shadow barely separates
the tip of the nose to the chin from the blouse.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The Renoir profile, however, gently moves from forehead to
chin in a series of in and out triangular wedges. The darker green-gray shadow to
its left creates ample space for this three-dimensional volume to be suspended
in space while, at the same time, be cushioned by the “billowy” arm to its left
and the larger, rounder, more solid bulging shoulder to its right. Cradled on
both sides, it hangs in the space in a quasi-rosette pattern that includes the
hands.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Now the hands:</div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimDhr6U86B7B34DS-y5nWNDYgMaSwdvQ7n-su8l7XJKN-_c8UDHvPzTy1EiZvj64C2UcDCQpjn8prvdY7bmWutI3WxH0UysBbKVfqGizOPeFXhXoGTBF1TRaUXBBBhboRwsi4WQ9i7l77K/s1600/Glackens,+Lenna+Painting,+1918,,+MOAFL+(2).jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimDhr6U86B7B34DS-y5nWNDYgMaSwdvQ7n-su8l7XJKN-_c8UDHvPzTy1EiZvj64C2UcDCQpjn8prvdY7bmWutI3WxH0UysBbKVfqGizOPeFXhXoGTBF1TRaUXBBBhboRwsi4WQ9i7l77K/s1600/Glackens,+Lenna+Painting,+1918,,+MOAFL+(2).jpg" height="378" width="400" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhj4cl2KvVSBPUFEtBfBNdc-BysvGwTWgl3lyD2IFZ6MOiLQhKPlKv002XNjR7wCZ5OKHUCjd63jgAleRRJbgoAAEfaVBFGzkTWVj3e7MUWmQV94Q6m1YdNcbpBkXxu3Zqsu1bqudrsoKI/s1600/Renoir,+Child+Reading,+early+1890s,+bf51_i8r+(5).jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhj4cl2KvVSBPUFEtBfBNdc-BysvGwTWgl3lyD2IFZ6MOiLQhKPlKv002XNjR7wCZ5OKHUCjd63jgAleRRJbgoAAEfaVBFGzkTWVj3e7MUWmQV94Q6m1YdNcbpBkXxu3Zqsu1bqudrsoKI/s1600/Renoir,+Child+Reading,+early+1890s,+bf51_i8r+(5).jpg" height="218" width="400" /></a></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="mso-no-proof: yes;"><br /></span></div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="mso-no-proof: yes;"><br /></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal">
I hope you let me know your reaction when you first examined
these two cropped and enlarged sections.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I said “WOW!”<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In the Glackens, the “hands’ move to the left and right, the
greens and whites surrounding them enhancing that movement with wisps of pulled
color bands undulating around and between them.<span style="mso-spacerun: yes;">
</span>The paintbrush sets each color unit forward or back, and its tight,
vise-like “grip” in the child’s grasp feels palpable.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In the Renoir, two mitt-like soft, luminous round “hands” rendered
in a prayer-like triangle, and packed in closely by shoulder, book, and sleeve,
are motionless. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Stated simply, both pictures exhibit each artist’s delight
in the subject of a child busy painting or reading.<span style="mso-spacerun: yes;"> </span>Aesthetically excited by the colorful aspects
of life, Glackens stresses the moment, the here-and-now sense of actuality, of
crisp gentleness, zest, and energy.<span style="mso-spacerun: yes;"> </span>The endeavor
of a child painting, for Glackens, becomes <i style="mso-bidi-font-style: normal;">that
</i>child<i style="mso-bidi-font-style: normal;">, those </i>hands, <i style="mso-bidi-font-style: normal;">that </i>paintbrush.<span style="mso-spacerun: yes;"> </span>The endeavor of a child reading, for Renoir,
becomes a series of lush, warm substantial color volumes coiled in deep,
colorful space.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
As we continue to explore Glackens’ work, we will further
define his relationship to the Impressionist tradition, his stress on the
illustrative character of a picture’s subject, his awareness and utilization of
twentieth century painting, and the effect of all this on his work.<span style="mso-spacerun: yes;"> </span></div>
Marilyn Baumanhttp://www.blogger.com/profile/09221864675491721708noreply@blogger.com1tag:blogger.com,1999:blog-8720084087539855728.post-79698105272460550532014-03-30T16:38:00.000-07:002014-03-31T10:01:30.639-07:00Repetitions and Surprises<!--[if !mso]>
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<br />
<div align="center" class="MsoNormal" style="text-align: center;">
</div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal">
In my last post, <a href="http://whylookatart.blogspot.com/2014/03/messages.html"><span style="color: blue; mso-fareast-font-family: Calibri;">Messages</span></a><span style="mso-fareast-font-family: Calibri;">, I invited you to compare and contrast
two paintings by Vincent van Gogh included in the </span>“Van Gogh Repetitions”
exhibit.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I quoted William Robinson, one of the show’s lead scholars
and conservators, who said, “You have to really concentrate.<span style="mso-spacerun: yes;"> </span>But when you compare van Gogh’s different
versions of a design stroke by stroke, you start to relive his creative decisions.<span style="mso-spacerun: yes;"> </span>It’s a strangely mystical experience.”
(“Seeing Double: Van Gogh the Tweaker,” <i style="mso-bidi-font-style: normal;">The
New York Times, </i>10.6.13, ar 21)</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Many of you said you felt deeply satisfied as you probed
aesthetic meanings in <i style="mso-bidi-font-style: normal;">The Large Plane
Trees </i>and <i style="mso-bidi-font-style: normal;">The Road Menders.<span style="mso-spacerun: yes;"> </span></i>If you felt this,<i style="mso-bidi-font-style: normal;"> </i>Dr. Barnes says, you saw “beneath appearances to the reality
underlying them.” (<i style="mso-bidi-font-style: normal;">Art in Painting, </i>p.
47)</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
That’s mystical.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Here are the two paintings.</div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggDikWGazHQGXhb13lGGKQSCeQ9-Zw2iEAK0wZOuhW6gpKhcZ9p7lk2LrkqfNwUDnC8m5OMPSs9WQpFaxTEIwt_FCH94P0tHx0iuygMoouNBk5o2KPWeofaSJAcibSpBgIEEHDAlW_c3tk/s1600/Van+Gogh,+The+Large+Plane+Trees,+1889,+Cleveland+new.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggDikWGazHQGXhb13lGGKQSCeQ9-Zw2iEAK0wZOuhW6gpKhcZ9p7lk2LrkqfNwUDnC8m5OMPSs9WQpFaxTEIwt_FCH94P0tHx0iuygMoouNBk5o2KPWeofaSJAcibSpBgIEEHDAlW_c3tk/s1600/Van+Gogh,+The+Large+Plane+Trees,+1889,+Cleveland+new.jpg" height="318" width="400" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div align="center" class="MsoNormal" style="text-align: center;">
<a href="http://library.artstor.org/library/secure/ViewImages?id=8D1Efjk2NjsgQi85fzN6Sngt&source=ppt"><span style="color: windowtext; mso-no-proof: yes; text-decoration: none; text-underline: none;"><span style="mso-ignore: vglayout;"></span></span></a></div>
<div align="center" class="MsoNormal" style="text-align: center;">
Cleveland</div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqZiAuwjJ7xeXV8TUl5Y5ejpp8ObVRhK8MDLycKrFK75vzgbIRSR0bNMdiyeWy7SWnZBfU5wVKj_Kuu6H2ecI18ZmxNuwqmmmd94YCwzuftqvd8OCMHD-xexA7xMAcHrvu9r206WKJjas6/s1600/Van+Gogh%252C+The+Road+Menders%252C+1889%252C+Phillips%252C+new+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqZiAuwjJ7xeXV8TUl5Y5ejpp8ObVRhK8MDLycKrFK75vzgbIRSR0bNMdiyeWy7SWnZBfU5wVKj_Kuu6H2ecI18ZmxNuwqmmmd94YCwzuftqvd8OCMHD-xexA7xMAcHrvu9r206WKJjas6/s1600/Van+Gogh%252C+The+Road+Menders%252C+1889%252C+Phillips%252C+new+2.jpg" height="315" width="400" /></a></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="mso-no-proof: yes;"></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
Phillips</div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal">
I asked you to examine:</div>
<div class="MsoNormal">
<br /></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .75in; margin-right: 0in; margin-top: 0in; mso-list: l0 level1 lfo1; text-indent: -.25in; vertical-align: baseline;">
<span style="color: black; mso-font-kerning: 12.0pt; mso-themecolor: text1;"><span style="mso-list: Ignore;">1.<span style="font: 7.0pt "Times New Roman";"> </span></span></span><span style="color: black; mso-fareast-font-family: "Times New Roman"; mso-fareast-theme-font: minor-fareast; mso-font-kerning: 12.0pt; mso-themecolor: text1;">Each change in size,
shape, light, color, line, and space in every color unit in each picture</span></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .75in; margin-right: 0in; margin-top: 0in; mso-list: l0 level1 lfo1; text-indent: -.25in; vertical-align: baseline;">
<span style="color: black; mso-font-kerning: 12.0pt; mso-themecolor: text1;"><span style="mso-list: Ignore;">2.<span style="font: 7.0pt "Times New Roman";"> </span></span></span><span style="color: black; mso-fareast-font-family: "Times New Roman"; mso-fareast-theme-font: minor-fareast; mso-font-kerning: 12.0pt; mso-themecolor: text1;">The overall impact of
the total ensemble of each picture</span></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .75in; margin-right: 0in; margin-top: 0in; mso-list: l0 level1 lfo1; text-indent: -.25in; vertical-align: baseline;">
<span style="color: black; mso-font-kerning: 12.0pt; mso-themecolor: text1;"><span style="mso-list: Ignore;">3.<span style="font: 7.0pt "Times New Roman";"> </span></span></span><span style="color: black; mso-fareast-font-family: "Times New Roman"; mso-fareast-theme-font: minor-fareast; mso-font-kerning: 12.0pt; mso-themecolor: text1;">The changes in each
figure or groups of figures</span></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .75in; margin-right: 0in; margin-top: 0in; mso-list: l0 level1 lfo1; text-indent: -.25in; vertical-align: baseline;">
<span style="color: black; mso-font-kerning: 12.0pt; mso-themecolor: text1;"><span style="mso-list: Ignore;">4.<span style="font: 7.0pt "Times New Roman";"> </span></span></span><span style="color: black; mso-fareast-font-family: "Times New Roman"; mso-fareast-theme-font: minor-fareast; mso-font-kerning: 12.0pt; mso-themecolor: text1;">The changes in the
rocks</span></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .75in; margin-right: 0in; margin-top: 0in; mso-list: l0 level1 lfo1; text-indent: -.25in; vertical-align: baseline;">
<span style="color: black; mso-font-kerning: 12.0pt; mso-themecolor: text1;"><span style="mso-list: Ignore;">5.<span style="font: 7.0pt "Times New Roman";"> </span></span></span><span style="color: black; mso-fareast-font-family: "Times New Roman"; mso-fareast-theme-font: minor-fareast; mso-font-kerning: 12.0pt; mso-themecolor: text1;">The changes in the
windows</span></div>
<div style="margin-bottom: .0001pt; margin: 0in; vertical-align: baseline;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0in; vertical-align: baseline;">
<span style="color: black; mso-fareast-font-family: "Times New Roman"; mso-fareast-theme-font: minor-fareast; mso-font-kerning: 12.0pt; mso-themecolor: text1;">A reader, Cynthia,
said the Cleveland painting expresses the colors of fall—warm amber, gold,
russet red, blues, grays, and blacks.<span style="mso-spacerun: yes;"> </span>In
the repetition, the Phillips painting, the yellows and greens are cool—almost
icy—the blues and grays muted and subtle. </span></div>
<div style="margin-bottom: .0001pt; margin: 0in; vertical-align: baseline;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0in; vertical-align: baseline;">
<span style="color: black; mso-fareast-font-family: "Times New Roman"; mso-fareast-theme-font: minor-fareast; mso-font-kerning: 12.0pt; mso-themecolor: text1;">The overall impact,
therefore, of the total ensemble of each picture is different.</span></div>
<div style="margin-bottom: .0001pt; margin: 0in; vertical-align: baseline;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0in; vertical-align: baseline;">
<span style="color: black; mso-fareast-font-family: "Times New Roman"; mso-fareast-theme-font: minor-fareast; mso-font-kerning: 12.0pt; mso-themecolor: text1;">The conservators
describe in detail the canvas van Gogh used for each painting, its thread
count, whether he primed it, and if he did, with what. <span style="mso-spacerun: yes;"> </span>This information fascinated me, but it did not
assist my aesthetic analysis.<span style="mso-spacerun: yes;"> </span>I had to
define the impact of the paintings, and I agree with Cynthia: the Cleveland
picture resonates with rich, deep, warmth while the Phillips painting glows
with eerie light in color tints of yellows, greens, cerulean blues, and whites.</span></div>
<div style="margin-bottom: .0001pt; margin: 0in; vertical-align: baseline;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0in; vertical-align: baseline;">
<span style="color: black; mso-fareast-font-family: "Times New Roman"; mso-fareast-theme-font: minor-fareast; mso-font-kerning: 12.0pt; mso-themecolor: text1;">From the point of
view of subject facts, these two paintings, at first glance, look remarkably
similar. <span style="mso-spacerun: yes;"> </span>Then, when you examine details
closely, the differences become apparent.</span></div>
<div style="margin-bottom: .0001pt; margin: 0in; vertical-align: baseline;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0in; vertical-align: baseline;">
<span style="color: black; mso-fareast-font-family: "Times New Roman"; mso-fareast-theme-font: minor-fareast; mso-font-kerning: 12.0pt; mso-themecolor: text1;">Let’s look first at
the figure in the lower left: </span></div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLbT69VcMdviAZB2lKTS97SHvhqyhgqNhQD4JWTrvzyDo1exL4KW5g_0eMtG5PfnlAdUAIQh3Ns6DG5AN6Hku4tAxskfE6CQjY9pA0c5oTloxkCnkkDCgNfLVPwVs0-mPuVSsN4QjYtxIl/s1600/Van+Gogh%252C+The+Large+Plane+Trees%252C+Cleveland+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLbT69VcMdviAZB2lKTS97SHvhqyhgqNhQD4JWTrvzyDo1exL4KW5g_0eMtG5PfnlAdUAIQh3Ns6DG5AN6Hku4tAxskfE6CQjY9pA0c5oTloxkCnkkDCgNfLVPwVs0-mPuVSsN4QjYtxIl/s1600/Van+Gogh%252C+The+Large+Plane+Trees%252C+Cleveland+2.jpg" height="400" width="360" /></a></div>
<div style="margin-bottom: .0001pt; margin: 0in; text-indent: .5in; vertical-align: baseline;">
<span style="height: 309px; margin-left: 411px; margin-top: 7px; mso-ignore: vglayout; position: absolute; width: 303px; z-index: 251661312;"></span><span style="color: black; mso-fareast-font-family: "Times New Roman"; mso-fareast-theme-font: minor-fareast; mso-font-kerning: 12.0pt; mso-no-proof: yes; mso-themecolor: text1;"></span><span style="color: black; mso-fareast-font-family: "Times New Roman"; mso-fareast-theme-font: minor-fareast; mso-font-kerning: 12.0pt; mso-themecolor: text1;"><span style="mso-tab-count: 3;"> </span> Cleveland<span style="mso-spacerun: yes;">
</span><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span></span></div>
<div style="margin-bottom: .0001pt; margin: 0in; text-indent: .5in; vertical-align: baseline;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi77vgTo2YSCTlCbU1YEE8Og1RyvRBL0A1qGLGtlQ83F8os4GP81d-cKe6lAGNrt59W3YIcx5D05gKl8ZfFhF1EehweXC4zDVBTSgNlYIb7OiyIyJeuwbKFmFTYjZbrB3rxZKYhftNEcOlU/s1600/Van+Gogh,+R+M,+detail.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi77vgTo2YSCTlCbU1YEE8Og1RyvRBL0A1qGLGtlQ83F8os4GP81d-cKe6lAGNrt59W3YIcx5D05gKl8ZfFhF1EehweXC4zDVBTSgNlYIb7OiyIyJeuwbKFmFTYjZbrB3rxZKYhftNEcOlU/s1600/Van+Gogh,+R+M,+detail.jpg" height="400" width="397" /></a></div>
<div style="margin: 0in 0in 0.0001pt; text-align: center; text-indent: 0.5in; vertical-align: baseline;">
<span style="color: black; mso-fareast-font-family: "Times New Roman"; mso-fareast-theme-font: minor-fareast; mso-font-kerning: 12.0pt; mso-themecolor: text1;"><span style="mso-spacerun: yes;"> Phillips</span></span></div>
<div style="margin-bottom: .0001pt; margin: 0in; text-indent: .5in; vertical-align: baseline;">
<br /></div>
<div class="MsoNormal">
In the Cleveland picture, thick, striped brushstrokes
actively pull bands of yellows, browns, and grays horizontally and diagonally
behind the figure.<span style="mso-spacerun: yes;"> </span>The “woman” is a
series of contrasting geometric shapes defined by a rigid, black outline.<span style="mso-spacerun: yes;"> </span>Her head contrasts her dark brown hair with a
warm pink facial profile. A jutting cerulean blue angular cape pushes her
shoulder and basket forward.<span style="mso-spacerun: yes;"> </span>The basket
consists of two rounded strokes of blue and tan, a rhythmic repetition of the
light/dark contrasts of her head.<span style="mso-spacerun: yes;"> </span>Two
flattened vertical widths of sketchy brown and blue support her base.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In the Phillips picture, the horizontal strips in the
background are wider, lighter, and reduced to yellow and light gray/green.<span style="mso-spacerun: yes;"> </span>The “woman’s” body is a series of two
contrasting geometric shapes. The smooth blended dark, navy blue cape sets off the
vertical mass of blackish coat.<span style="mso-spacerun: yes;"> </span>Her head,
defined by line, does not include a dark/light contrast.<span style="mso-spacerun: yes;"> </span>Ochre hair blends into a tan/gray inverted triangle
face.<span style="mso-spacerun: yes;"> </span>Her “basket” becomes a boxy
rectangle of red and brown.<span style="mso-spacerun: yes;"> </span>The red is a
clue. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Notice the effect of the differences: look at the hand; look
at the inverted triangle of blue in the Cleveland version and the triangle of
gray in the Phillips version as they define her coat under the basket.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Now examine the lampposts on the left side of both
paintings:</div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSroc2mz9ILswWZ8fnLjd3KuWtd8KIGSv-L-jaweYNfvqWdP6JBV3jAiw8r91SawtLmYLz05PpUVkQWPtJ0gN_ASaAlm7cIHgnwp21HCiblErId1seHY3us1-qUtOkITq74jlZ-d1e0Jgs/s1600/Van+Gogh,+LPT,+Cleveland+new.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSroc2mz9ILswWZ8fnLjd3KuWtd8KIGSv-L-jaweYNfvqWdP6JBV3jAiw8r91SawtLmYLz05PpUVkQWPtJ0gN_ASaAlm7cIHgnwp21HCiblErId1seHY3us1-qUtOkITq74jlZ-d1e0Jgs/s1600/Van+Gogh,+LPT,+Cleveland+new.jpg" height="400" width="352" /></a></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="mso-no-proof: yes;"></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
Cleveland</div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjc3dU28y6S-XAYt67Lqg1jY9-CCrI2bPAvnU-qtx2NhPJEzZ_X9aPz0xqbDmbHmg8jj-9KlPTJpK-FHDWR9Ji7-9ZLgMkXllnLwCCqBf2KhXn_k-Dkt5lAr-FqFKllKY1_zOs7UA9E2Fv0/s1600/Van+Gogh,+RM,+Phillips,+new.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjc3dU28y6S-XAYt67Lqg1jY9-CCrI2bPAvnU-qtx2NhPJEzZ_X9aPz0xqbDmbHmg8jj-9KlPTJpK-FHDWR9Ji7-9ZLgMkXllnLwCCqBf2KhXn_k-Dkt5lAr-FqFKllKY1_zOs7UA9E2Fv0/s1600/Van+Gogh,+RM,+Phillips,+new.jpg" height="400" width="352" /></a></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="mso-no-proof: yes;"></span></div>
<div class="MsoNormal">
<span style="mso-tab-count: 5;"> </span><span style="mso-spacerun: yes;"> </span>Phillips</div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<span style="mso-bidi-font-size: 11.0pt; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"><span style="mso-tab-count: 4;"> </span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In the Cleveland picture, the lamppost is outlined, and it
is placed adjacent to the acid-green window shutter.<span style="mso-spacerun: yes;"> </span>The top window shutters are closed, and they
continue the dark/light contrast theme.<span style="mso-spacerun: yes;">
</span>The façade of the building implies plaster and blocks consisting of
lighter yellow lines and thick pigment.<span style="mso-spacerun: yes;">
</span>The greens are light viridian.<span style="mso-spacerun: yes;"> </span>Washes
of gray/white delineated by a black line define the doorframe and lower
shutter.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In the Phillips picture, the lamppost, painted directly into
a quivering, vertical mass, is reduced in size.<span style="mso-spacerun: yes;">
</span>Dark green and black model it into a slimmer color unit, creating a
space between it and the lower shutter.<span style="mso-spacerun: yes;">
</span>The façade of the building is constructed with a series of vertical
bands of yellow and orange placed side by side.<span style="mso-spacerun: yes;"> </span>The door and shutters are slabs of heavy, dense,
warm green.<span style="mso-spacerun: yes;"> </span>The curtains showing through
the panes of the lower windows are pink/white stripes in the Cleveland picture
and bright red in the Phillips. Another clue.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Here are the lower right sections of both pictures:<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgFZYDTOKzT0_89JTHTulKJ5_ptwn55JhsRIWODIh6p3YFuKKBRA2cMQxpoIt8hZkmaRAUDxoRk5Jcx_sHTgdFXvelsOksSNN1ODZiFPhReOhaNyUmyXW-JTS_R4EEVR6m9ErFtN-hQiYa/s1600/Van+Gogh,+Rocks,+detail,+Cleveland+(2).jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgFZYDTOKzT0_89JTHTulKJ5_ptwn55JhsRIWODIh6p3YFuKKBRA2cMQxpoIt8hZkmaRAUDxoRk5Jcx_sHTgdFXvelsOksSNN1ODZiFPhReOhaNyUmyXW-JTS_R4EEVR6m9ErFtN-hQiYa/s1600/Van+Gogh,+Rocks,+detail,+Cleveland+(2).jpg" height="240" width="400" /></a></div>
Cleveland</div>
<div class="MsoNormal" style="margin-left: 2.5in; text-indent: .5in;">
<span style="mso-ignore: vglayout;">
</span></div>
<table align="left" cellpadding="0" cellspacing="0">
<tbody>
<tr>
<td height="138" width="142"></td></tr>
<tr><td><br /></td><td><br /></td></tr>
</tbody></table>
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<div class="separator" style="clear: both; text-align: center;">
</div>
<div style="margin-bottom: .0001pt; margin: 0in; text-indent: .5in; vertical-align: baseline;">
</div>
<span style="color: black; mso-fareast-font-family: "Times New Roman"; mso-fareast-theme-font: minor-fareast; mso-font-kerning: 12.0pt; mso-themecolor: text1;"> Phillips</span><br />
<div style="margin-bottom: .0001pt; margin: 0in; vertical-align: baseline;">
</div>
<div class="MsoNormal">
In the Cleveland picture, curly lines of white, gray, and
soft blue agitate the surface of the dirt mounds and the road.<span style="mso-spacerun: yes;"> </span>Examine the outlines of the blocks of stones,
the small can to the right of center, the figures, and the tree trunks.<span style="mso-spacerun: yes;"> </span>The surface ripples, swells, and pulses with
energy, as the warm browns, tans, and oranges of the road dramatically contrast
with the cool, blue/grays of the rounded mounds and blocks of stone. The two
working men in the upper right are fully rounded masses of contrasting green
and orange/tan energized by the rippling, curly brush strokes that define them.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In the Phillips picture, a suffusion of yellow/white bathes
the entire section.<span style="mso-spacerun: yes;"> </span>The blocks of stone
are rectilinear boxes of white outlined with cool green.<span style="mso-spacerun: yes;"> </span>The road is a series of zigzag green lines
interspersed with ochre/yellow/blue lines.<span style="mso-spacerun: yes;">
</span>The rocks and mounds are a series of lines separating and defining
stones from dirt but creating no solidity or mass.<span style="mso-spacerun: yes;"> </span>The tree trunks, likewise, flatten into
lineal units of green/tan lines bound by a dark brown outline. <span style="mso-spacerun: yes;"> </span>Three men, delicately outlined and constructed
of washes of light blue and tan, are light in weight and mass.<span style="mso-spacerun: yes;"> </span>Notice, however, the reds of the lines that
define their shape.<span style="mso-spacerun: yes;"> </span>Notice, too, the red
hat and the contrasting black of the other two hats.<span style="mso-spacerun: yes;"> </span>More clues.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Finally, look at the figures in the upper center of both
pictures.</div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjO-0_Cx3abygXVaI3HFzIED1Y7WAOR9ftxFtDey8yCzNMn-UCkF74f4Q-YBFXkb0G1KawIGxvh1TuPt1eihvOHo1S6klfjE5KdofKlD6pHnHz_JT3NhVxnCw5IDL0iesS_FoRKdyaDfgVr/s1600/Van+Gogh,+The+Large+Plane+Trees,+Cleveland,+new.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjO-0_Cx3abygXVaI3HFzIED1Y7WAOR9ftxFtDey8yCzNMn-UCkF74f4Q-YBFXkb0G1KawIGxvh1TuPt1eihvOHo1S6klfjE5KdofKlD6pHnHz_JT3NhVxnCw5IDL0iesS_FoRKdyaDfgVr/s1600/Van+Gogh,+The+Large+Plane+Trees,+Cleveland,+new.jpg" height="400" width="286" /></a></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<span style="mso-no-proof: yes;"></span><span style="mso-bidi-font-size: 11.0pt; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"> Cleveland</span></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyNkmuWbAb3w0Cdvs9Aes-mCDUdG_mDtMPBNiUap1SL32PJP0WPNCsIf4lhVkR_wgdFOHxcQakB28mbU_BTJpM1o2VBs90F8Pd2cRbDkJMUCQV7tkkb3uM531wPzMW1kTZc3Nn1kldbBFT/s1600/Van+Gogh,+The+Road+Menders,+1889,+Phillips,+new.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyNkmuWbAb3w0Cdvs9Aes-mCDUdG_mDtMPBNiUap1SL32PJP0WPNCsIf4lhVkR_wgdFOHxcQakB28mbU_BTJpM1o2VBs90F8Pd2cRbDkJMUCQV7tkkb3uM531wPzMW1kTZc3Nn1kldbBFT/s1600/Van+Gogh,+The+Road+Menders,+1889,+Phillips,+new.jpg" height="400" width="226" /></a></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
</div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<span style="mso-bidi-font-size: 11.0pt; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"> Phillips</span></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<span style="mso-bidi-font-size: 11.0pt; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;"> <span style="mso-tab-count: 6;"> </span><span style="mso-spacerun: yes;"> </span></span></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<span style="mso-bidi-font-size: 11.0pt; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;">In
the Cleveland picture, the figures are barely visible: a series of brush strokes,
as angular as stick figures, and drawn over the background of thick, tan/brown
pulled pigment. The third figure, to the right of the others, is a smear of
gray/tan with a fan of thin lines suggesting a shirt.<span style="mso-spacerun: yes;"> </span>In the Phillips picture, the figures are
rhythmic units of orange and blue-gray, thinly lined, and caught in action as
they “move” through the pale yellow space.<span style="mso-spacerun: yes;">
</span>The third figure is hardly a figure but a balancing construct of a light
gray rectangle with contrasting “legs” that is set back in space.<span style="mso-spacerun: yes;"> </span>The major spatial difference, however, is the
receding space in the Phillips picture as opposed to the shallow spatial
recession in the Cleveland.</span></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<span style="mso-bidi-font-size: 11.0pt; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;">While
similar in subject facts, the aesthetic message each painting expresses is specifically
unique.</span></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<br /></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;">The Large Plane Trees,
</i>the Cleveland picture, is a series of diagonal planes of dramatically
contrasting warm and cool color volumes that ripple, swirl, and pulse in a
relatively confined space.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;">The Road Menders, </i>the
Phillips picture, is a series of diagonal planes of dramatically contrasting
eerie, bleached, flattened color volumes that decoratively connect surprises of
vibrant reds, blacks and blue/grays in relatively deep space.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
My point: these are two different pictures.<span style="mso-spacerun: yes;"> </span>Van Gogh experienced his subject anew when he
painted the so-called repetition.<span style="mso-spacerun: yes;"> </span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal">
When he worked from his original subject outside and when he
worked from that painting for the repetition, he subjected both pictures to a
new interest.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Dave Nolan, a friend, artist, graphic designer, and Violette
de Mazia Foundation teacher, travels with a small paint box and 6 x 9 inch
canvas boards.<span style="mso-spacerun: yes;"> </span>He works on site in
France, Italy, Belgium, or Holland, and brings home his tiny pictures along
with photographs of his subjects.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Then he makes a larger painting using his small painting and
photographs as his subject.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
These are repetitions.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoPlainText">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Here
is how he puts it:</span><span style="mso-spacerun: yes;"> </span><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">“The photos
always look a little grayer to me, but they show details that I never noticed
on site.<span style="mso-spacerun: yes;"> </span>When painting the larger
version, what I notice is that the colors weren't coming out like either the
little painting or the photograph.”</span></div>
<div class="MsoPlainText">
<br /></div>
<div class="MsoPlainText">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">In
other words, the larger version is a new adventure in perception.<span style="mso-spacerun: yes;"> </span>He sees anew what he saw before.<span style="mso-spacerun: yes;"> </span>He subjects his subject to a new interest.</span></div>
<div class="MsoPlainText">
<br /></div>
<div class="MsoPlainText">
<br /></div>
<div class="MsoPlainText">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<br /></div>
Marilyn Baumanhttp://www.blogger.com/profile/09221864675491721708noreply@blogger.com0tag:blogger.com,1999:blog-8720084087539855728.post-39768470042914744622014-03-07T10:51:00.001-08:002014-03-07T10:57:43.716-08:00Messages<!--[if !mso]>
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<br />
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal">
This week I dug out my high school yearbook to try to find
the name of a girl included in a photo I emailed to my Bronx friends (six women
who have shared life’s journey with me since we went to school and played
together as children).<span style="mso-spacerun: yes;"> </span>We have been on a
weeklong trip down memory lane, initiated by an essay in <i style="mso-bidi-font-style: normal;">The New Yorker</i> by Roger Angell on aging (if you want to read it,
click here:<span style="mso-spacerun: yes;"> </span><a href="http://m.newyorker.com/reporting/2014/02/17/140217fa_fact_angell?utm_source=tny&utm_medium=email&utm_campaign=dailyemail&mbid=nl_Daily%20(119)"><i style="mso-bidi-font-style: normal;">The New Yorker</i></a>).<span style="mso-spacerun: yes;"> </span>Angell’s essay sparked all sorts of stories,
schools we attended, teachers we loved, or hated, sports we played, etc.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
As I sat on the floor of my cold basement and looked through
the yearbook scanning all the individual photos, my eye spotted a “flourish” of
handwriting on the upper right corner of a group photo titled Service League.<span style="mso-spacerun: yes;"> </span>I was in the photo, but it was the
handwritten note that attracted my attention.<span style="mso-spacerun: yes;">
</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I thought, “That’s my father’s handwriting.” </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
It reads: “To my loving daughter Marilynn,” (definitely his
spelling of my name, with two n’s)</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
“May your future be as bright and sunny as the day you
looked on graduation, my honey.<span style="mso-spacerun: yes;"> </span>Love, Daddy.”</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I never read this message before this week, and I have no
idea when my father wrote it. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I sat there, yearbook in lap, crying.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
On the same day when my husband was flying to Colorado to
visit his 98-year-old father who is recuperating from surgery, I read a note
from my father that survived 56 years, buried in a dusty high school yearbook
packed in a trunk.<span style="mso-spacerun: yes;"> </span>My father wrote the
note when he was 48 years old.<span style="mso-spacerun: yes;"> </span>He died
ten years later.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I felt his loss as if it just happened.<span style="mso-spacerun: yes;"> </span>His love reached my heart long after my high
school graduation celebration and found its way to me as if by magic. My
reaction reaffirms what Pearl S. Buck wrote in 1943: “Life is a process of the
spirit and not of the body…we are more than can be expressed in concrete shapes
of solid flesh and chemical material.” </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In art, she said, this means “painters and musicians and
writers and all those who have, by chance of birth, been given the tools of
talent to express for others the truth that all must feel if we are to have a
better world—that truth put into words so long ago by a Chinese when he said,
‘All under heaven are brothers.’” (in <i style="mso-bidi-font-style: normal;">Ancient
Chinese and Modern European Paintings, </i>Bignou Gallery, New York, May-June
1943, n.p.)</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
We get “Messages” that provide consolation and information—if
we read them.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
You may be rightly wondering where I am going in this post.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Here’s where:</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
This past fall, The Phillips Collection exhibited “Van Gogh
Repetitions,” bringing together 13 instances in which van Gogh made more than
one version of a work—and often multiple versions.<span style="mso-spacerun: yes;"> </span>In the show’s catalog, a team of scholars and
conservators, led by William Robinson and Eliza Rathbone, assemble and analyze
documents that are clues to when van Gogh made a copy.<span style="mso-spacerun: yes;"> </span>Using new technical evidence, such as X-rays
and high-resolution digital imagery, they resolve questions about the sequence
of the works.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I visited the exhibit and devoured the details in the
catalog. What impressed me the most, however, is this statement by Mr.
Robinson: “You have to really concentrate.<span style="mso-spacerun: yes;">
</span>But when you compare van Gogh’s different versions of a design stroke by
stroke, you start to relive his creative decisions.<span style="mso-spacerun: yes;"> </span>It’s a strangely mystical experience.”
(“Seeing Double: Van Gogh the Tweaker,” <i style="mso-bidi-font-style: normal;">The
New York Times, </i>10.6.13, ar 21).</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
“It’s a strangely mystical experience,” says Mr. Robinson.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I hope you get to know it.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Below, I have selected two paintings from the exhibit, and I
ask you to compare and contrast them:<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">The Large Plane Trees, </i>November-December
1889, The Cleveland Museum of Art; <i style="mso-bidi-font-style: normal;">The
Road Menders, </i>November-December 1889, The Phillips Collection.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The catalog provides the following information:</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
Toward the end of the year, van
Gogh painted two nearly identical views of men repairing the main boulevard
running through the center of Saint-Rémy.<span style="mso-spacerun: yes;">
</span>On December 7, 1889, he wrote to his brother Theo, “The last study I
have done is a view of the village where they were working under enormous plane
trees—repairing the pavement.<span style="mso-spacerun: yes;"> </span>So there
are heaps of sand, stones and gigantic trunks—the leaves yellowing.<span style="mso-spacerun: yes;"> </span>Almost a month later, on January 3, 1890, van
Gogh told Theo that he now had two versions of this subject, identified as “<i style="mso-bidi-font-style: normal;">The Large Plane Trees—</i>the chief street
or boulevard<span style="mso-spacerun: yes;"> </span>of Saint-Rémy, <i style="mso-bidi-font-style: normal;">élude d’après nature</i>—I [also] have <i style="mso-bidi-font-style: normal;">une répétition</i> <span style="mso-spacerun: yes;"> </span>of it that is perhaps more finished. (<i style="mso-bidi-font-style: normal;">Van Gogh Repetitions, </i>p. 141)</div>
<div class="MsoNormal" style="margin-left: .5in;">
<br /></div>
<div class="MsoNormal">
The conclusion: “While the transfer method remains
mysterious, ample evidence points towards Cleveland’s <i style="mso-bidi-font-style: normal;">Large Plane Trees </i>as the study from nature and the Phillip’s <i style="mso-bidi-font-style: normal;">Road Menders </i>as the studio repetition.”
(p. 146)</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Here are the paintings:</div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtk29p-mHLUf3POMjRILOVARxq1b-UDGoMVbpAOQ42Zh_8zh4FAj3fxchhnW7vOJn53s0TLYoXsUyQhflG6w474CpLR5r8nb8b4YMl6x9tFS0yidCpIeOZoyYyyb00eDYxuffbuJXP9v_u/s1600/Van+Gogh,+The+Large+Plane+Trees,+1889,+Oil+on+fabric,+The+Cleveland+Museum+of+Art.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtk29p-mHLUf3POMjRILOVARxq1b-UDGoMVbpAOQ42Zh_8zh4FAj3fxchhnW7vOJn53s0TLYoXsUyQhflG6w474CpLR5r8nb8b4YMl6x9tFS0yidCpIeOZoyYyyb00eDYxuffbuJXP9v_u/s1600/Van+Gogh,+The+Large+Plane+Trees,+1889,+Oil+on+fabric,+The+Cleveland+Museum+of+Art.jpg" height="318" width="400" /></a></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="mso-no-proof: yes;"></span></div>
<div class="MsoNormal">
<span style="mso-tab-count: 6;"> </span>Cleveland</div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_rxTZKePG0vmsIcg6k81HiokSAtuFun0PaChX3onXae9_BAv5tcCMu6eQIMY7RNBbOVZaHlGjv89dyoECKvSR9fiGKd2blBwHAJ4u20cSaD3fEfae9xprnB5lbUG3V_hReLKprAlMM5vf/s1600/Van+Gogh,+The+Road+Menders,+1889,+Phillips.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_rxTZKePG0vmsIcg6k81HiokSAtuFun0PaChX3onXae9_BAv5tcCMu6eQIMY7RNBbOVZaHlGjv89dyoECKvSR9fiGKd2blBwHAJ4u20cSaD3fEfae9xprnB5lbUG3V_hReLKprAlMM5vf/s1600/Van+Gogh,+The+Road+Menders,+1889,+Phillips.jpg" height="317" width="400" /></a></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="mso-no-proof: yes;"></span></div>
<div class="MsoNormal">
<span style="mso-tab-count: 6;"> </span>Phillips</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
To make this analysis even more interesting, below is a
photograph of the subject taken many years after van Gogh used it for his
painting:</div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbPcp5cTIH_KKy_6ruPRpU1i91Y6ssWjZmk7rDMs4RuCLXFcUlt-RI8NBiFG2rOFiRRq7k2VmYvwVnZIjyuVM0OdPiQ1lYakAGK4a8WbE4G2Y-r0_g2MQVETprtZcdI3zlD-agYfywqjIs/s1600/Van+Gogh,+Large+Plane+Trees,+photo.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbPcp5cTIH_KKy_6ruPRpU1i91Y6ssWjZmk7rDMs4RuCLXFcUlt-RI8NBiFG2rOFiRRq7k2VmYvwVnZIjyuVM0OdPiQ1lYakAGK4a8WbE4G2Y-r0_g2MQVETprtZcdI3zlD-agYfywqjIs/s1600/Van+Gogh,+Large+Plane+Trees,+photo.jpg" height="278" width="400" /></a></div>
<div style="text-align: left;">
<span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"> </span><span style="font-size: x-small;"><i>T</i><i><span style="color: black;">he
Boulevard Mirabeau 1950s, </span></i><span style="color: black;">photograph by Marc Edo Tralbaut, Rijksmuseum</span>
</span></div>
<div style="margin-bottom: .0001pt; margin: 0in; vertical-align: baseline;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0in; vertical-align: baseline;">
<span style="color: black; mso-fareast-font-family: "Times New Roman"; mso-fareast-theme-font: minor-fareast; mso-font-kerning: 12.0pt; mso-themecolor: text1;">I invite you to
examine the paintings and state the design (theme, picture idea, visual clue) in
each of them.</span></div>
<div style="margin-bottom: .0001pt; margin: 0in; vertical-align: baseline;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0in; vertical-align: baseline;">
<span style="color: black; mso-fareast-font-family: "Times New Roman"; mso-fareast-theme-font: minor-fareast; mso-font-kerning: 12.0pt; mso-themecolor: text1;">To get to this point,
examine them upside down, and look for:</span></div>
<div style="margin-bottom: .0001pt; margin: 0in; vertical-align: baseline;">
<br /></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .75in; margin-right: 0in; margin-top: 0in; mso-list: l0 level1 lfo1; text-indent: -.25in; vertical-align: baseline;">
<span style="color: black; mso-font-kerning: 12.0pt; mso-themecolor: text1;"><span style="mso-list: Ignore;">1.<span style="font: 7.0pt "Times New Roman";"> </span></span></span><span style="color: black; mso-fareast-font-family: "Times New Roman"; mso-fareast-theme-font: minor-fareast; mso-font-kerning: 12.0pt; mso-themecolor: text1;">Each change in size,
shape, light, color, line, and space in every color unit in each picture</span></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .75in; margin-right: 0in; margin-top: 0in; mso-list: l0 level1 lfo1; text-indent: -.25in; vertical-align: baseline;">
<span style="color: black; mso-font-kerning: 12.0pt; mso-themecolor: text1;"><span style="mso-list: Ignore;">2.<span style="font: 7.0pt "Times New Roman";"> </span></span></span><span style="color: black; mso-fareast-font-family: "Times New Roman"; mso-fareast-theme-font: minor-fareast; mso-font-kerning: 12.0pt; mso-themecolor: text1;">The overall impact of
the total ensemble of each picture</span></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .75in; margin-right: 0in; margin-top: 0in; mso-list: l0 level1 lfo1; text-indent: -.25in; vertical-align: baseline;">
<span style="color: black; mso-font-kerning: 12.0pt; mso-themecolor: text1;"><span style="mso-list: Ignore;">3.<span style="font: 7.0pt "Times New Roman";"> </span></span></span><span style="color: black; mso-fareast-font-family: "Times New Roman"; mso-fareast-theme-font: minor-fareast; mso-font-kerning: 12.0pt; mso-themecolor: text1;">The changes in each
figure or groups of figures</span></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .75in; margin-right: 0in; margin-top: 0in; mso-list: l0 level1 lfo1; text-indent: -.25in; vertical-align: baseline;">
<span style="color: black; mso-font-kerning: 12.0pt; mso-themecolor: text1;"><span style="mso-list: Ignore;">4.<span style="font: 7.0pt "Times New Roman";"> </span></span></span><span style="color: black; mso-fareast-font-family: "Times New Roman"; mso-fareast-theme-font: minor-fareast; mso-font-kerning: 12.0pt; mso-themecolor: text1;">The changes in the
rocks</span></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .75in; margin-right: 0in; margin-top: 0in; mso-list: l0 level1 lfo1; text-indent: -.25in; vertical-align: baseline;">
<span style="color: black; mso-font-kerning: 12.0pt; mso-themecolor: text1;"><span style="mso-list: Ignore;">5.<span style="font: 7.0pt "Times New Roman";"> </span></span></span><span style="color: black; mso-fareast-font-family: "Times New Roman"; mso-fareast-theme-font: minor-fareast; mso-font-kerning: 12.0pt; mso-themecolor: text1;">The changes in the
windows</span></div>
<div style="margin-bottom: .0001pt; margin: 0in; vertical-align: baseline;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0in; vertical-align: baseline;">
<span style="color: black; mso-fareast-font-family: "Times New Roman"; mso-fareast-theme-font: minor-fareast; mso-font-kerning: 12.0pt; mso-themecolor: text1;">Here they are upside
down:</span></div>
<div style="margin-bottom: .0001pt; margin: 0in; vertical-align: baseline;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNjhgLI3mWg7xmLqYU2nFwTkyvRt045HUNXEjJ0eUFTzhZyKfv1EoHImvtCqWbaagMNh_6xnHFcNNps1BJ2y2nt7Lec20kN0NjkJoJ_XncU0OqG2aeDuIXSH6lbuGB3v1b4ig2h3UuY_DN/s1600/Van+Gogh,+The+Large+Plane+Trees,+Cleveland,+inverted.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNjhgLI3mWg7xmLqYU2nFwTkyvRt045HUNXEjJ0eUFTzhZyKfv1EoHImvtCqWbaagMNh_6xnHFcNNps1BJ2y2nt7Lec20kN0NjkJoJ_XncU0OqG2aeDuIXSH6lbuGB3v1b4ig2h3UuY_DN/s1600/Van+Gogh,+The+Large+Plane+Trees,+Cleveland,+inverted.jpg" height="318" width="400" /></a></div>
<div align="center" style="margin-bottom: .0001pt; margin: 0in; text-align: center; vertical-align: baseline;">
<span style="color: black; mso-fareast-font-family: "Times New Roman"; mso-fareast-theme-font: minor-fareast; mso-font-kerning: 12.0pt; mso-no-proof: yes; mso-themecolor: text1;"></span><span style="color: black; mso-fareast-font-family: "Times New Roman"; mso-fareast-theme-font: minor-fareast; mso-font-kerning: 12.0pt; mso-themecolor: text1;"></span></div>
<div align="center" style="margin-bottom: .0001pt; margin: 0in; text-align: center; vertical-align: baseline;">
<i style="mso-bidi-font-style: normal;"><span style="color: black; mso-fareast-font-family: "Times New Roman"; mso-fareast-theme-font: minor-fareast; mso-font-kerning: 12.0pt; mso-themecolor: text1;">The Large Plane Trees
</span></i><span style="color: black; mso-fareast-font-family: "Times New Roman"; mso-fareast-theme-font: minor-fareast; mso-font-kerning: 12.0pt; mso-themecolor: text1;">(inverted),
Cleveland</span></div>
<div align="center" style="margin-bottom: .0001pt; margin: 0in; text-align: center; vertical-align: baseline;">
<br /></div>
<div align="center" style="margin-bottom: .0001pt; margin: 0in; text-align: center; vertical-align: baseline;">
<br /></div>
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<span style="color: black; mso-fareast-font-family: "Times New Roman"; mso-fareast-theme-font: minor-fareast; mso-font-kerning: 12.0pt; mso-no-proof: yes; mso-themecolor: text1;"></span><span style="color: black; mso-fareast-font-family: "Times New Roman"; mso-fareast-theme-font: minor-fareast; mso-font-kerning: 12.0pt; mso-themecolor: text1;"></span></div>
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<i style="mso-bidi-font-style: normal;"><span style="color: black; mso-fareast-font-family: "Times New Roman"; mso-fareast-theme-font: minor-fareast; mso-font-kerning: 12.0pt; mso-themecolor: text1;">The Road Menders </span></i><span style="color: black; mso-fareast-font-family: "Times New Roman"; mso-fareast-theme-font: minor-fareast; mso-font-kerning: 12.0pt; mso-themecolor: text1;">(inverted)<i style="mso-bidi-font-style: normal;">, </i>Phillips </span></div>
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<span style="color: black; mso-fareast-font-family: "Times New Roman"; mso-fareast-theme-font: minor-fareast; mso-font-kerning: 12.0pt; mso-themecolor: text1;">If you “get” the
messages, let me know your reactions to them.<span style="mso-spacerun: yes;">
</span>Either respond directly on this post or send me an email:<span style="mso-spacerun: yes;"> </span></span><a href="mailto:marilyn.bauman68@gmail.com"><span style="mso-fareast-font-family: "Times New Roman"; mso-fareast-theme-font: minor-fareast; mso-font-kerning: 12.0pt;">Marilyn’s
email</span></a><span style="color: black; mso-fareast-font-family: "Times New Roman"; mso-fareast-theme-font: minor-fareast; mso-font-kerning: 12.0pt; mso-themecolor: text1;">.<span style="mso-spacerun: yes;"> </span>I will
summarize and discuss your responses in the next post.</span></div>
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Marilyn Baumanhttp://www.blogger.com/profile/09221864675491721708noreply@blogger.com1tag:blogger.com,1999:blog-8720084087539855728.post-51126751827665681602014-02-14T10:47:00.000-08:002014-02-14T10:47:04.287-08:00Dr. Barnes' Vermeer<!--[if !mso]>
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When David Hockney’s exhibit opened this past fall at the de
Young, a fine arts museum located in San Francisco's Golden Gate Park, I
discovered it included 150 iPad images.</div>
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Now this intrigued me.<span style="mso-spacerun: yes;">
</span></div>
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<br /></div>
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I reluctantly joined the 21<sup>st</sup> century when, three
years ago, my grandchildren gave me an iPhone for my 70<sup>th</sup>
birthday.<span style="mso-spacerun: yes;"> </span>They also helped me learn how
to use it.<span style="mso-spacerun: yes;"> </span>This past December, I
purchased an iPad Air, and I am still trying to figure out how to use Brushes,
the app Hockney uses to make his pictures.<span style="mso-spacerun: yes;">
</span>No doubt, I will need to schedule a session with my 10-year-old granddaughter
to learn how to do so.<span style="mso-spacerun: yes;"> </span></div>
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Apparently, artists, illustrators, and graphic designers are
snapping up other programs like Touch Sketch, StetchBook Mobile and Bamboo
Paper.</div>
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Binghamton University Art Historian Kevin Hatch said the art
world took a digital turn about 25 years ago, as the Internet gained
popularity, but he cautioned there are some drawbacks to the shift to tablet
art: “A certain, almost magical quality of oil paint, a tactile, tangible
substance, is lost when a painting becomes, at heart, a piece of code, a set of
invisible 1’s and 0’s.” (quoted in the <i style="mso-bidi-font-style: normal;">Huffington
Post</i>, 10.28.2013)</div>
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<br /></div>
<div class="MsoNormal">
Last month, I read a review of “Tim’s Vermeer,” a
documentary in which Tim Jenison “discovers” whether Johannes Vermeer (1632-75)
used optical tools when he created his paintings.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Manohla Dargis, the <i style="mso-bidi-font-style: normal;">New
York Times </i>film reviewer, says the film seems to be asking, “though no one
in the movie is so gauche to say it bluntly: Did Vermeer cheat his way into
history?” (1.31.2014, p. C6)</div>
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<br /></div>
<div class="MsoNormal">
Here is where we come in.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
How do we determine creativity?<span style="mso-spacerun: yes;"> </span>How do we uncover aesthetic quality in a work
of art?<span style="mso-spacerun: yes;"> </span>When Dr. Barnes evaluates the
art in a painting, what does he say we must do?</div>
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<br /></div>
<div class="MsoNormal">
Think about this.</div>
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<br /></div>
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To assist you, look at Vermeer’s <i style="mso-bidi-font-style: normal;">View of Delft </i>as you ponder this question:</div>
<div class="MsoNormal">
<br /></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDrkPEfmFvfnh2jtmt82dM_1uoZI1recewefBWOakWm0nW3LllkRSmSi-DsZ_xJX3b_ZfaOKP0yfaLE9ASSeVcuSJlXTprj_mj_zsB03jhmqu8G4S9x-xrPAz8YWZijZKICu4kst3WAc2N/s1600/Vermeer,+View+of+Delft+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDrkPEfmFvfnh2jtmt82dM_1uoZI1recewefBWOakWm0nW3LllkRSmSi-DsZ_xJX3b_ZfaOKP0yfaLE9ASSeVcuSJlXTprj_mj_zsB03jhmqu8G4S9x-xrPAz8YWZijZKICu4kst3WAc2N/s1600/Vermeer,+View+of+Delft+2.jpg" height="333" width="400" /></a></div>
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<span style="mso-no-proof: yes;"></span></div>
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Vermeer, <i style="mso-bidi-font-style: normal;">View of Delft, </i>c. 1660-61, <span style="mso-tab-count: 1;"> </span>Mauritshuis, The Hague</div>
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<br /></div>
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I asked you to look at this painting because it served as a
turning point for me as I endeavored to use and teach the objective
method.<span style="mso-spacerun: yes;"> </span></div>
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<br /></div>
<div class="MsoNormal">
In the 1980’s, I was teaching children to paint, and during
the painting lessons I included about 20 minutes of art appreciation, primarily
introducing them to the traditions of art.<span style="mso-spacerun: yes;">
</span>I wanted them to trust their perceptions and to express on canvas the
meaning of their own visual experiences.<span style="mso-spacerun: yes;">
</span>I wanted to nurture creativeness, not teach them a skill or a
technique.<span style="mso-spacerun: yes;"> </span>I decided to build a
background of knowledge so they could have it at their disposal for personal
use when they needed it instead of seeking it only after they had reached an
impasse.</div>
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<br /></div>
<div class="MsoNormal">
When I began to attempt to teach the traditions of art, my
grasp of the ideas did prove to be far less than secure.<span style="mso-spacerun: yes;"> </span>Because of this, I unwittingly strayed back
to the old, the easy way, the well-beaten path taken by nearly all art
historians and art critics—a crowded path, smoothly paved and abundantly
supplied with markers.<span style="mso-spacerun: yes;"> </span>Its most
seductive characteristic: it caters to our native curiosity without requiring
on our part any great exertion of intellect or imagination.<span style="mso-spacerun: yes;"> </span></div>
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<br /></div>
<div class="MsoNormal">
When I prepared my lesson on Vermeer and the Dutch
tradition, I found myself fascinated by the book, <i style="mso-bidi-font-style: normal;">Jan Vermeer, </i>by Arthur K. Wheelock, Jr.<span style="mso-spacerun: yes;"> </span>(Harry M. Abrams, Inc., New York, 1981).<span style="mso-spacerun: yes;"> </span>I read of Jan Steen that “by 1654 he had
already established himself as a genre painter in the tradition of Adriaen Van
Ostade, but as one with an unusually rich sense of humor,” a feature that,
according to the author, distinguished Steen’s painting from that of Vermeer
(p. 21).<i style="mso-bidi-font-style: normal;"> </i></div>
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<br /></div>
<div class="MsoNormal">
I also became obsessed with symbolism, iconography, and pictorial
devices. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Light, line, color, and space went out the window.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
When I finished my fact-filled talk on subject, <i style="mso-bidi-font-style: normal;">camera obscura </i>and Vermeer’s use of it, along
with Hans van Meegeren forgeries of Vermeer’s work, I used up my 20 minutes.</div>
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<br /></div>
<div class="MsoNormal">
After that, I pulled myself together.</div>
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<br /></div>
<div class="MsoNormal">
I realized I had taken the road most traveled.<span style="mso-spacerun: yes;"> </span>I knew I had to do just what Dr. Barnes had
done before me: use objective analysis to do some painstaking looking,
classifying, organizing, studying, and looking some more, until I discovered
verifiable principles.<span style="mso-spacerun: yes;"> </span>This takes time
and effort, and that is the reason for which the other, the easy, the
trouble-less, ways are so seductive.<span style="mso-spacerun: yes;">
</span>Yes, Vermeer spoke in the idiom of his time when he used mirrors,
clavichords, and maps as his subjects or used the <i style="mso-bidi-font-style: normal;">camera obscura </i>to study optical images and effects.<span style="mso-spacerun: yes;"> </span>But the question is not what he used.<span style="mso-spacerun: yes;"> </span>Rather it is what he did with what he used
that made it new and different and <i style="mso-bidi-font-style: normal;">his</i>.<span style="mso-spacerun: yes;"> </span>Instead of “Beauty is as beauty does,” I
would say, “Influence is as influence does and is done unto and with.”<span style="mso-spacerun: yes;"> </span>And that includes technological influences.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I had resilient young students, and when I showed them <i style="mso-bidi-font-style: normal;">View of Delft </i>and asked them to tell me
about the patterns, the color, the light, the drawing, the space composition
and nothing else, they sat dumbstruck for a few minutes.<span style="mso-spacerun: yes;"> </span>Then, a six-year-old replied, “Everything
first goes across the picture, and then some little shapes go up into those bands.”</div>
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<br /></div>
<div class="MsoNormal">
That’s what I call a breakthrough!</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
If you read Dr. Barnes analysis of this painting in <i style="mso-bidi-font-style: normal;">The Art in Painting, </i>he verifies my
student’s perception.<span style="mso-spacerun: yes;"> </span>He wrote this
about pattern in the picture: “A series of horizontal irregular broad bands,
counterbalanced by smaller vertical units, map out the general framework.” (p.
452) </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
He goes on to say horizontal elements extend across the
picture.<span style="mso-spacerun: yes;"> </span>Starting at the top, a band of
darker clouds and two bands of lighter clouds alternates with strips of
blue.<span style="mso-spacerun: yes;"> </span>The area of buildings-and-trees
follows.<span style="mso-spacerun: yes;"> </span>The canal and the reflections
in it join the triangular bank in the foreground.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The clouds, my children noticed, puff and curl across the
sky, and move back in space. The row of buildings-and-trees moves in and out. The
gables, steeples, and towers have much the same “up-ness” (their word) as the
people and posts in the foreground.<span style="mso-spacerun: yes;"> </span>The
reflections in the water carry this vertical pattern to the area of the canal.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The horizontal bands each contrasts with a subsequent band:
the gray-white sky sets off the darker, more solid and compact blue-red-green shapes
in the center.<span style="mso-spacerun: yes;"> </span>These, in turn, contrast
with the gray-brown water.<span style="mso-spacerun: yes;"> </span>And the water
contrasts with the tan-yellow bank in the foreground.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
What intrigued my students the most was the “bubbles” or, as
Dr, Barnes calls them, “the internal pattern of light within each color-area,
sometimes amounting to a series of superposed spots, rather than a change of
hue.”<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Contrast of light and dark is the essential characteristic
of this landscape as it is in the Dutch tradition.<span style="mso-spacerun: yes;"> </span>You see this easily in the contrasting bands,
but you need to look more closely to see the remarkable internal pattern in
each area.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Look at the following detail on the far right:</div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeMRrMOVqOt1OXtsrmLEZNX1TRAB6DJHIj2vxF4QKEUyY_OIFkS7wc_XZLFQ8PR9aDzfDXvepzmNvgnKpT3oeSLBUNTFZHJGX04AWEUTOSMW9hijGE3hdWelPbNWJ5E-Qb-LrOM3O4Etva/s1600/Vermeer,+View+of+Delft+Hague+detail+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeMRrMOVqOt1OXtsrmLEZNX1TRAB6DJHIj2vxF4QKEUyY_OIFkS7wc_XZLFQ8PR9aDzfDXvepzmNvgnKpT3oeSLBUNTFZHJGX04AWEUTOSMW9hijGE3hdWelPbNWJ5E-Qb-LrOM3O4Etva/s1600/Vermeer,+View+of+Delft+Hague+detail+2.jpg" height="360" width="400" /></a></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="mso-no-proof: yes;"></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal">
This is hard to see in a digital image, but the central
golden rectilinear band on the far right is flooded with light while rich red
and brown spots function as dark; above it, the ivory wall subtly modulated
with bright red is light.<span style="mso-spacerun: yes;"> </span>In the
adjacent section of this wall, right above it, the relation of dark to light is
reversed; the ivory strip is at the top and the brownish section is below.<span style="mso-spacerun: yes;"> </span>In the sun-lit area of the ground, its ivory
tone tinged with red and blue, creates a note of contrast with the adjacent
area below it which is modulated with grayish blueish-green. In the section of
buildings to the left of the boats, the wall and turret function as the dark
element in contrast to the sunlit, modulated, yellow-and-red roof directly
behind it.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The figures, posts, docked small boats, and orange-red
ground all continue the dark-light, rhythmic motifs in a vertical format.<span style="mso-spacerun: yes;"> </span>They exemplify the space-composition seen in
the entire picture.<span style="mso-spacerun: yes;"> </span>The space-distribution
of masses in the row of buildings-and-trees is a succession of variedly shaped,
colored, and illuminated gables, walls, towers, chimneys, set at intervals
which also vary in expanse, depth, and color and light.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Dr. Barnes concludes by saying, “The plastic organization of
the subject-matter is one of colorful units that recede in deep space and
attain a degree of three-dimensionality commensurate with the exquisite
character of the painting as a whole….The picture is, indeed, Holland itself,
and its form embodies a creative use of traditional features and represents
Vermeer and the Dutch tradition in their highest estate.” (<i style="mso-bidi-font-style: normal;">TAiP, </i>p. 455)</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
If you own <i style="mso-bidi-font-style: normal;">The Art in
Painting, </i>please read Dr. Barnes’ analysis of this painting with a high
quality image on your screen.<span style="mso-spacerun: yes;"> </span>Better
yet, go to the Mauritshuis to see it. It will be worth the trip.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I do not generally quote and paraphrase Dr. Barnes in such
detail, but it was just his analysis of <i style="mso-bidi-font-style: normal;">View
of Delft </i>that reinforced my commitment to this method.<span style="mso-spacerun: yes;"> </span>With his help, I could guide my students to
experience the art in this picture.<span style="mso-spacerun: yes;"> </span>It
restored my faith in the method.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I will end where I began.<span style="mso-spacerun: yes;">
</span>In the review of the film, “Tim’s Vermeer,” Manohla Dargis says, “you
learn a little about art and a great deal about the familiar impulse to tame
art and drain it of its mystery and power.” </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
At the beginning of the film, she writes, “Mr. Jillette, a
jovial presence, says in voice over that the ‘magical quality’ in Vermeer’s
work has mystified many, partly because X-rays show no sketches under the
paintings.”</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Jillette argues: “It’s as if Vermeer were some unfathomable
genius who could just walk up to a canvas and magically paint with light.” </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Magic has nothing to do with it, does it?<span style="mso-spacerun: yes;"> </span>Dr. Barnes writes that Vermeer had a
particular background, a set of interests, certain habits of perception, and
extraordinary skill.<span style="mso-spacerun: yes;"> </span>He was able to
apply the traditional Dutch contrast-motif<span style="mso-spacerun: yes;">
</span>to new themes.<span style="mso-spacerun: yes;"> </span>He developed those
themes into a distinctive and individual Vermeer form and, in <i style="mso-bidi-font-style: normal;">View of Delft, </i>he reached the highest
range of art chiefly through consummate use of color.<span style="mso-spacerun: yes;"> </span>(<i style="mso-bidi-font-style: normal;">TAinP</i>,
p. 227)</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
My former young painting students and my grandchildren would
not call this magic; they would call it “awesome.”</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
For practice in evaluating the influence of technology on
works of art, I ask you to consider the following two images.<span style="mso-spacerun: yes;"> </span>The first is by Goya; the second is by Yinka
Shonibare, MBE, and his work is currently on exhibit at the Barnes
Foundation.<span style="mso-spacerun: yes;"> </span>If you send me your reactions,
I will include them in the next post.<span style="mso-spacerun: yes;">
</span>Just click here: <a href="mailto:marilynbauman68@gmail.com">Marilyn’s
email</a>.</div>
<div class="MsoNormal">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhf_ovF436bkaL1SdWzOz1iEUWkZMcKfxkXEdnq7ZNmaIP0lgukM6VAxykIRfisfF23Sjcrgn9YAYfPfslHdBmnODgUAMbHvc6-wBqFV9aywokwcTne9KpRAYz8e1exHvSW49gtw1oBPkVk/s1600/Goya,+The+Sleep+of+Reason+Produces+Monsters,+1799,+Met.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhf_ovF436bkaL1SdWzOz1iEUWkZMcKfxkXEdnq7ZNmaIP0lgukM6VAxykIRfisfF23Sjcrgn9YAYfPfslHdBmnODgUAMbHvc6-wBqFV9aywokwcTne9KpRAYz8e1exHvSW49gtw1oBPkVk/s1600/Goya,+The+Sleep+of+Reason+Produces+Monsters,+1799,+Met.jpg" height="400" width="281" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Goya, <i style="mso-bidi-font-style: normal;">The Sleep of Reason Produces Monsters, </i>1799,
Etching and aquatint on wove paper, Met</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtz3Kfh5jrxn-06ZqMZEuJnuU9BiyCSbMI3CSiaQORD25p7MXVKdlyZBxYdau8yUED9_pJYYLlp6f8sCbcY8SURkTDqORFcTIhDu4ePbULFSmQCYngIzL32Fnxi6wzwaS3gLA8WTfCGAqO/s1600/shonibare,+Sleep+of+reason,+2008.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtz3Kfh5jrxn-06ZqMZEuJnuU9BiyCSbMI3CSiaQORD25p7MXVKdlyZBxYdau8yUED9_pJYYLlp6f8sCbcY8SURkTDqORFcTIhDu4ePbULFSmQCYngIzL32Fnxi6wzwaS3gLA8WTfCGAqO/s1600/shonibare,+Sleep+of+reason,+2008.jpg" height="400" width="290" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div align="center" class="MsoNormal" style="text-align: center;">
Yinka Shonibare, MBE,
<i style="mso-bidi-font-style: normal;">The Sleep of Reason Produces Monsters
(Asia), </i>2008, c-print mounted on aluminum, James Cohan Gallery Art</div>
<div class="MsoNormal">
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</td></tr>
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<span style="mso-no-proof: yes;"><br /></span></div>
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<br /></div>
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<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="mso-no-proof: yes;"><br /></span></div>
<br />Marilyn Baumanhttp://www.blogger.com/profile/09221864675491721708noreply@blogger.com1tag:blogger.com,1999:blog-8720084087539855728.post-67287440293939792812014-01-23T13:34:00.000-08:002014-01-30T17:50:48.970-08:00Magic Moments<!--[if !mso]>
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<div class="MsoNormal">
I ended my previous post (<a href="http://whylookatart.blogspot.com/2014/01/young-mother-contd.html"><i style="mso-bidi-font-style: normal;"><span style="mso-fareast-font-family: Calibri;">Young
Mother, </span></i><span style="mso-fareast-font-family: Calibri;">Cont’d</span></a><span style="mso-fareast-font-family: Calibri;">) </span>telling you I went to the
Frick Collection with my husband, my grandson, and his dad to see <span style="mso-bidi-font-size: 12.0pt;">“</span><a href="http://www.frick.org/exhibitions/mauritshuis" title="Details."><span style="mso-bidi-font-size: 12.0pt;">Vermeer, Rembrandt, and Hals: Masterpieces of
Dutch Painting From Mauritshuis</span></a><span class="MsoHyperlink"><span style="mso-bidi-font-size: 12.0pt;">.</span></span><span style="mso-bidi-font-size: 12.0pt;">” <span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-bidi-font-size: 12.0pt;">Here’s how it
happened.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="mso-bidi-font-size: 12.0pt;">What I thought would be an uncomplicated task
to purchase timed tickets, turned out to be quite complicated.</span></div>
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<br /></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="mso-bidi-font-size: 12.0pt;">A week before the exhibit was to close and
the paintings sent back to The Hague, I went to the Frick website and
discovered it was sold out. As I sat glumly looking at the computer screen, I
noticed information about memberships.<span style="mso-spacerun: yes;"> </span>If
I purchased a membership, it would permit me to enter any exhibit at any time, immediately,
even the one currently sold out.<span style="mso-spacerun: yes;"> </span>I’d
also be able to stand on a shorter, priority line just for members, much as
first class ticket holders avoid coach class lines at airports. </span></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="mso-bidi-font-size: 12.0pt;">According to <i style="mso-bidi-font-style: normal;">The New York Times, </i>normally the Frick logs about three new members
a day. In the first six weeks of the show, the Frick signed up around 100 new
members a day, and during the last few weeks, that number tripled. </span></div>
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<br /></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="mso-bidi-font-size: 12.0pt;">Since I needed four tickets, I had to join at
the Contributing Friends level, a cost of $250.<span style="mso-spacerun: yes;">
</span>Then I had to purchase Amtrak tickets, also higher priced than usual
because our trip was 5 days away and a holiday weekend.<span style="mso-spacerun: yes;"> </span>All told, I’d end up spending $600, and that
didn’t even include the price of lunch.<span style="mso-spacerun: yes;"> </span>My
husband said I was nuts (really, he did).<span style="mso-spacerun: yes;">
</span>I told him we had to get our grandson to this exhibit.<span style="mso-spacerun: yes;"> </span>I wanted to be the one who showed him these
paintings (yes, ego was involved).<span style="mso-spacerun: yes;"> </span>My
strongest argument: it was still cheaper than taking him to The Hague to see
the same paintings.<span style="mso-spacerun: yes;"> </span>He laughed at that.</span></div>
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<br /></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="mso-bidi-font-size: 12.0pt;">This past Sunday we left Wilmington at 7:55
am and arrived in New York about 9:40.<span style="mso-spacerun: yes;"> </span>As
we walked up 70<sup>th</sup> Street, we spied the end of the already lengthy Members’
line—about mid-block from the entrance.<span style="mso-spacerun: yes;">
</span>Once we lined up, I noticed the “other” line, the one for ticket
holders, snaking to the left of the entrance, turning the corner on 5<sup>th</sup>
Avenue, and continuing all the way to 71<sup>st</sup> Street, where a short
time later it turned that corner and continued.<span style="mso-spacerun: yes;">
</span>Soon the Frick guards started a third line adjacent to the Members’
line: <span style="mso-spacerun: yes;"> </span>this one for those who did not
have tickets, nor were members, but would be purchasing memberships at the
door.<span style="mso-spacerun: yes;"> </span></span></div>
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<br /></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="mso-bidi-font-size: 12.0pt;">My grandson and his dad joined us soon after
we arrived, and we waited.<span style="mso-spacerun: yes;"> </span></span></div>
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<br /></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="mso-bidi-font-size: 12.0pt;">I tell you this because it illustrates the
theme of this post: when genuine interest burns in us, we move heaven and earth
to achieve our goal.<span style="mso-spacerun: yes;"> </span>And I was on fire.</span></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="mso-bidi-font-size: 12.0pt;">Those waiting in line quickly became friends
rapt in conversation about our last-minute decision to see the exhibit; several
near us, including my son-in-law, walked a few blocks to buy coffee.<span style="mso-spacerun: yes;"> </span>At 11 am, the guard let all the members
in.<span style="mso-spacerun: yes;"> </span>After us, I heard him say, he would
admit the “members to be” and then the ticket holders.</span></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="mso-bidi-font-size: 12.0pt;">Once inside, viewers surrounded the key
paintings. They were generous and kind.<span style="mso-spacerun: yes;"> </span>The
mass of people in front of <i style="mso-bidi-font-style: normal;">Girl with a
Pearl Earring </i>parted like the Red Sea, shepherding my grandson to the
front.<span style="mso-spacerun: yes;"> </span>That’s when I started whispering
in his ear.<span style="mso-spacerun: yes;"> </span></span></div>
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<br /></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="mso-bidi-font-size: 12.0pt;">Here is <i style="mso-bidi-font-style: normal;">Girl
with a Pearl Earring:</i></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHtt_1Lz-cAXMkFm_djcZ6y9TUt6XrIni-cH48smJfdT1XlQOW10-tPwnmR29h8yfgBuSoPlofC2vpqD4IhiyWBkpYMHFztdjDIEvJ4L9uBkpRhTB5_OADAXwgp127eMtueUh548ZVHbUK/s1600/Vermeer,+Girl+with+the+Pearl+Earring,+c.+1655,+Mauritshuis.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHtt_1Lz-cAXMkFm_djcZ6y9TUt6XrIni-cH48smJfdT1XlQOW10-tPwnmR29h8yfgBuSoPlofC2vpqD4IhiyWBkpYMHFztdjDIEvJ4L9uBkpRhTB5_OADAXwgp127eMtueUh548ZVHbUK/s1600/Vermeer,+Girl+with+the+Pearl+Earring,+c.+1655,+Mauritshuis.jpg" height="400" width="340" /></a></div>
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<span style="mso-bidi-font-size: 12.0pt; mso-no-proof: yes;"></span><span style="mso-bidi-font-size: 12.0pt;"></span></div>
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<span style="mso-bidi-font-size: 12.0pt;">Vermeer, <i style="mso-bidi-font-style: normal;">Girl with a Pearl Earring, </i>c. 1665,
Royal Picture Gallery Mauritshuis</span></div>
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<br /></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="mso-bidi-font-size: 12.0pt;">“What do you see first?” I asked.</span></div>
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<br /></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="mso-bidi-font-size: 12.0pt;">“The earring,” he replied.</span></div>
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<span style="mso-bidi-font-size: 12.0pt;"></span></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="mso-bidi-font-size: 12.0pt;">“Why do you think that is?</span></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="mso-bidi-font-size: 12.0pt;">“Because it has the spot of white.”</span></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="mso-bidi-font-size: 12.0pt;">“Where is it in space?”</span></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="mso-bidi-font-size: 12.0pt;">“Behind the head thing but in front of the
collar.”</span></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="mso-bidi-font-size: 12.0pt;">I noticed some stirring behind me.<span style="mso-spacerun: yes;"> </span>I heard a woman whisper to her companion,
“What did he say?”<span style="mso-spacerun: yes;"> </span>Her companion
answered, “something about the space.”</span></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="mso-bidi-font-size: 12.0pt;">Did it happen or did I imagine it? I felt the
entire mass of people behind us move in, like a football game huddle, and some
whispers of “light and space” floated backwards. They all were intently
following our conversation about the light as it moved our eyes through the
space in the painting.</span></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="mso-bidi-font-size: 12.0pt;">Magic Moment # 1.</span></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="mso-bidi-font-size: 12.0pt;">Ari noticed the girl’s shoulder bulging
forward creating a pyramidal solid mass in the frontal plane.<span style="mso-spacerun: yes;"> </span>I called it a pyramidal solid mass; he called
it a big solid mountain-like thing. The folds in the fabric created a series of
rhythmic vertical bands that repeated, closer together and smaller, in the
pattern in the darkness on her back.<span style="mso-spacerun: yes;">
</span>They repeated again in the narrow in-and-out linear folds of the hanging
yellow cloth, and again wider and deeper as they met the blue of the turban
wrapped around her head.</span></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="mso-bidi-font-size: 12.0pt;">We explored some more.<span style="mso-spacerun: yes;"> </span>We noticed the dark/light contrast in the
pearl: three strokes consisting of a dab of bright white, a semi-circle of indented
brown, and an arc of soft gray at its base.<span style="mso-spacerun: yes;">
</span></span></div>
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</div>
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<span style="mso-bidi-font-size: 12.0pt; mso-no-proof: yes;"><br /></span><span style="mso-bidi-font-size: 12.0pt;"></span>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzPaEpWQplIDJxKwEBfvGO_BP9_hK6dOPN5WIMlIFlJ2KqRY2v-gLdoz44qc5E9U-JGcFI6hkg111It-zw6KgCURmiIIjIfectlgKmmVeWVqbRJOWU0VyoN32MbGkyOdbh4g6AGpc0FSER/s1600/Vermeer,+Girl+with+the+Pearl+Earring,+detail+(2).jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzPaEpWQplIDJxKwEBfvGO_BP9_hK6dOPN5WIMlIFlJ2KqRY2v-gLdoz44qc5E9U-JGcFI6hkg111It-zw6KgCURmiIIjIfectlgKmmVeWVqbRJOWU0VyoN32MbGkyOdbh4g6AGpc0FSER/s1600/Vermeer,+Girl+with+the+Pearl+Earring,+detail+(2).jpg" height="320" width="320" /></a></div>
<span style="mso-bidi-font-size: 12.0pt; mso-no-proof: yes;"><br /></span><span style="mso-bidi-font-size: 12.0pt;"></span></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="mso-bidi-font-size: 12.0pt;">“What about the paint surfaces?” I asked. </span></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="mso-bidi-font-size: 12.0pt;">“Smooth, but sort of rough,” he
answered.<span style="mso-spacerun: yes;"> </span>“Like the pottery in the app
before I fire it.” </span></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="mso-bidi-font-size: 12.0pt;">(In case you do not know this reference, “Pottery”
is an app that allows users to use their fingers to build vases on a spinning potter’s
wheel, decorate and fire them, and even sell them at auction for points.<span style="mso-spacerun: yes;"> </span>It is so easy to handle, my almost 4-year-old
twin grandkids also love it.) </span></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="mso-bidi-font-size: 12.0pt;">In this painting, the luminous color, mottled
and fused with light, causes the figure to glow in the dark background.<span style="mso-spacerun: yes;"> </span>The rich, deep orange/tan of the fabric of
her dress; the bright yellow and ultramarine blue of the turban; the stark
whiteness and course stiffness of the collar; the moistness of the slightly
parted lips; all add to, in Dr. Barnes’ words, “rich, rhythmic linear patterns,
color-relations, and pervasive light in compositions which are felt as colored
rhythmic sequences of volumes in deep space.” (<i style="mso-bidi-font-style: normal;">The Art in Painting, </i>p. 227)</span></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="mso-bidi-font-size: 12.0pt;">We moved on.</span></div>
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<br /></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="mso-bidi-font-size: 12.0pt;">We looked at <i style="mso-bidi-font-style: normal;">The Goldfinch, </i>the tiny 13¼ x 9 inch painting by Carel Fabritius,
now made even more famous by Donna Tartt’s book.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="mso-bidi-font-size: 12.0pt;">Here it is:</span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjeXt-BsHM6eC5jNrMaNawp-vhnjN0hEPC7_wM168VhBTV03IJ7AitoLYuMj32KtYJDdNTQ4z0YWy522EriPGXz69smSe52cBgD-weJkgBQXOAO-RlUTGZ02kDa_sgJipNa7zZ8HJM_uyD/s1600/Fabritius,+The+Goldfinch,+1654,+Mauritshuis+1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjeXt-BsHM6eC5jNrMaNawp-vhnjN0hEPC7_wM168VhBTV03IJ7AitoLYuMj32KtYJDdNTQ4z0YWy522EriPGXz69smSe52cBgD-weJkgBQXOAO-RlUTGZ02kDa_sgJipNa7zZ8HJM_uyD/s1600/Fabritius,+The+Goldfinch,+1654,+Mauritshuis+1.jpg" height="400" width="253" /></a></div>
<div align="center" class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: center;">
<span style="mso-bidi-font-size: 12.0pt; mso-no-proof: yes;"></span><span style="mso-bidi-font-size: 12.0pt;"></span></div>
<div align="center" class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: center;">
<span style="mso-bidi-font-size: 12.0pt;">Carel
Fabritius, <i style="mso-bidi-font-style: normal;">The Goldfinch, </i>1654, Royal
Picture Gallery Mauritius, The Hague</span></div>
<div align="center" class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: center;">
<br /></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="mso-bidi-font-size: 12.0pt;">This picture created a challenge simply
because of its size.<span style="mso-spacerun: yes;"> </span>As before, the
crowd allowed Ari to move to the front, but even up close, we could not see
details.<span style="mso-spacerun: yes;"> </span>Ari noticed the reversal of
light and dark: unlike <i style="mso-bidi-font-style: normal;">Girl with a Pearl
Earring, </i>in this picture, the darker bird and its feeding box dramatically
contrasts with the light background.<span style="mso-spacerun: yes;"> </span>We
enjoyed the intervals between the projecting bars, the bird’s tail sliding
behind the top one, while the dangling chain slides behind the larger bottom
one.<span style="mso-spacerun: yes;"> </span>The illusion of bird and feeding
box pulling to the right side of the picture, and projecting forward in clear
space, with that space further accentuated by the shadow, impressed him.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="mso-bidi-font-size: 12.0pt;">I found impressive the restrained palette of
browns, grays, and yellow going from darkness through changing degrees of light
and then enlivened by the surprise of muted red on the bird’s head and the
bright yellow on the wing.<span style="mso-spacerun: yes;"> </span>Equally
impressive: the thin threads of paint highlighting the semicircular bars and
the bird’s feet.</span></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="mso-bidi-font-size: 12.0pt;">Although difficult to see there, these enlarged
details illustrate the distinct qualities of feathers and metal:</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDOKNpS9q7wt43BzIyAtotTnnSPAWGrAWPkiyr0R1OaVya2nwMPKLXcxIxfDB0s4rR-2D5pL2OJ-8nFOhGWnV7iLPKZIHKsX2n9myfcxRmo6kYAG67c8T-wGVWBuxChJBW2up_Ges4qrO5/s1600/Fabritius,+The+Goldfinch,+detail.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDOKNpS9q7wt43BzIyAtotTnnSPAWGrAWPkiyr0R1OaVya2nwMPKLXcxIxfDB0s4rR-2D5pL2OJ-8nFOhGWnV7iLPKZIHKsX2n9myfcxRmo6kYAG67c8T-wGVWBuxChJBW2up_Ges4qrO5/s1600/Fabritius,+The+Goldfinch,+detail.jpg" height="400" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKskUcxw91XZYC0mFJjNXwDcP6tAK7cmXTe1Yo4WTKngLcSgJtMwl7-quWM7ypriollv4j8kdEnf61cv3AjPSrd1GHyb-5lAN34NQbh6yjQOcaDCmRBm9POMDPNkp6ecA3YFnIaH8uDUD6/s1600/Fabritius,+The+Goldfinch,+detail+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKskUcxw91XZYC0mFJjNXwDcP6tAK7cmXTe1Yo4WTKngLcSgJtMwl7-quWM7ypriollv4j8kdEnf61cv3AjPSrd1GHyb-5lAN34NQbh6yjQOcaDCmRBm9POMDPNkp6ecA3YFnIaH8uDUD6/s1600/Fabritius,+The+Goldfinch,+detail+2.jpg" height="367" width="400" /></a></div>
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<span style="mso-bidi-font-size: 12.0pt; mso-no-proof: yes;"><br /></span><span style="mso-bidi-font-size: 12.0pt;"></span></div>
<div align="center" class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: center;">
<span style="mso-bidi-font-size: 12.0pt; mso-no-proof: yes;"></span><span style="mso-bidi-font-size: 12.0pt;"></span></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="mso-bidi-font-size: 12.0pt;">We examined the other paintings included in
this exhibit, and then we proceeded to explore the entire Frick Collection
where I moved Ari through a review of visual ideas and techniques in the
traditions of art, a daunting task, you might be thinking, but one I approached
like a quest. </span></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="mso-bidi-font-size: 12.0pt;">In the West Gallery, we examined Rembrandt’s
brush strokes compared to Hals’ by comparing each of their paintings hanging in
the same room.<span style="mso-spacerun: yes;"> </span>In the Living Hall, we
compared the ways Giovanni Bellini and Titian explored Venetian visual ideas,
easy to do because their paintings were on the same wall. </span></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="mso-bidi-font-size: 12.0pt;">In the Living Hall, I introduced him to El
Greco’s <i style="mso-bidi-font-style: normal;">St. Jerome, </i>and I pointed out
its unique qualities.<span style="mso-spacerun: yes;"> </span>Then, later, in
the Anteroom, I asked him, “Who painted this picture?” as we looked at the <i style="mso-bidi-font-style: normal;">Purification of the Temple.”<span style="mso-spacerun: yes;"> </span></i><span style="mso-spacerun: yes;"> </span>I
counted 4 seconds, before he answered, “El Greco.” </span></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="mso-bidi-font-size: 12.0pt;">“Why El Greco?” I asked.</span></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="mso-bidi-font-size: 12.0pt;">“Because the figures are so twisted, long,
light, and eerie looking,” he said.</span></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="mso-bidi-font-size: 12.0pt;">Magic Moment # 2.</span></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="mso-bidi-font-size: 12.0pt;">By the time we arrived at the Enamels Room, I
worried my “student” might be weary.<span style="mso-spacerun: yes;">
</span>However, Duccio’s <i style="mso-bidi-font-style: normal;">The Temptation
of Christ on the Mountain, </i>caught his attention.<span style="mso-spacerun: yes;"> </span>The picture shows a towering Christ rejecting
the devil, who offers Him “all the kingdoms of the world” if Christ will
worship him.<span style="mso-spacerun: yes;"> </span>The subject did not impress
Ari; the huge figures in relation to the little, pastel pink, blue, white
buildings did.</span></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="mso-bidi-font-size: 12.0pt;">Here is the picture and details of the
buildings:</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRgAJvJK6u9ijR16U8Rw7N-VMRAnf_IQN4J1wxNKvg68WKQHhye2yr2LMbwGLL4cpcaLSPtpQfwnv9Fo9oNSDXaK6iDh-1AfK6ngy-oY4EP1aWdH1VumJ13k79NAmIomw70MYzZNZt7Jrp/s1600/Duccio,+The+Temptation+of+Christ,+Frick+(3).jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRgAJvJK6u9ijR16U8Rw7N-VMRAnf_IQN4J1wxNKvg68WKQHhye2yr2LMbwGLL4cpcaLSPtpQfwnv9Fo9oNSDXaK6iDh-1AfK6ngy-oY4EP1aWdH1VumJ13k79NAmIomw70MYzZNZt7Jrp/s1600/Duccio,+The+Temptation+of+Christ,+Frick+(3).jpg" height="373" width="400" /></a></div>
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<span style="mso-bidi-font-size: 12.0pt; mso-no-proof: yes;"></span><span style="mso-bidi-font-size: 12.0pt;"></span></div>
<div align="center" class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: center;">
<span style="mso-bidi-font-size: 12.0pt;">Duccio di
Buoninsegna, <i style="mso-bidi-font-style: normal;">The Temptation of Christ on
the Mountain, </i>c. 1308-11, Frick</span></div>
<div align="center" class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: center;">
<br /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipXt7ynrYvSKyGzukB86JRGCQAVX1-rMU5DTHt_HMuRSspt5tsx79VdvGJPFM1kXB5AMZxyXUnnjQOqWgRW6tTlAbntoCEiw2KU-TcPqXy_6EyEkZoim4gkiVYxIXLwT2PJrk_jPxwXOaC/s1600/Duccio,+The+Temptation+of+Christ+on+the+Mountain,+c.+1308-11,+Frick,+detail+2+(2).jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipXt7ynrYvSKyGzukB86JRGCQAVX1-rMU5DTHt_HMuRSspt5tsx79VdvGJPFM1kXB5AMZxyXUnnjQOqWgRW6tTlAbntoCEiw2KU-TcPqXy_6EyEkZoim4gkiVYxIXLwT2PJrk_jPxwXOaC/s1600/Duccio,+The+Temptation+of+Christ+on+the+Mountain,+c.+1308-11,+Frick,+detail+2+(2).jpg" height="271" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhW-j5ZpLJ4OnNOYltRJX_be2rKX-ZDAD-GGoaGDuljsjsjbcio-VRJwp5LLs0pBrpVpk-hnmQOKZNBfDfc7-7YX5R9xG5cJn3AVI52p05P-un_CUo78rCx4sBUzCKZ_951fdk5TNjhsvw/s1600/Duccio,+The+Temptation+of+Christ+on+the+Mountain,+c.+1308-11,+Frick+(2).jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhW-j5ZpLJ4OnNOYltRJX_be2rKX-ZDAD-GGoaGDuljsjsjbcio-VRJwp5LLs0pBrpVpk-hnmQOKZNBfDfc7-7YX5R9xG5cJn3AVI52p05P-un_CUo78rCx4sBUzCKZ_951fdk5TNjhsvw/s1600/Duccio,+The+Temptation+of+Christ+on+the+Mountain,+c.+1308-11,+Frick+(2).jpg" height="400" width="268" /></a></div>
<div align="center" class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: center;">
<span style="mso-bidi-font-size: 12.0pt; mso-no-proof: yes;"></span><span style="mso-bidi-font-size: 12.0pt;"></span></div>
<div align="center" class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: center;">
<br /></div>
<div align="center" class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: center;">
<span style="mso-bidi-font-size: 12.0pt; mso-no-proof: yes;"><br /></span><span style="mso-bidi-font-size: 12.0pt;"></span></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="mso-bidi-font-size: 12.0pt;">“This looks like what I build on Minecraft,”
he said.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="mso-bidi-font-size: 12.0pt;">“What looks like it?” I questioned.</span></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="mso-bidi-font-size: 12.0pt;">“The buildings,” he said. “They are boxy and
uneven, like the tiles we use.”</span></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="mso-bidi-font-size: 12.0pt;">The “we” refers to him and his cousins:<span style="mso-spacerun: yes;"> </span>9-year-old Ari in Emmaus, PA; 14-year-old
Josh in Landenberg, PA; and 8-year-old Max in Beverly, MA. Somehow, they all
log on to the same “game” at the same time and build houses, towns and cities
while they fight creepers who try to destroy their creations.<span style="mso-spacerun: yes;"> </span>That’s the clearest explanation I can give
you.<span style="mso-spacerun: yes;"> </span>I have watched the intensity of
this endeavor, and I have absolutely no idea what they are doing.</span></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="mso-bidi-font-size: 12.0pt;">Here is an example of one of Ari’s
constructions:</span></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgK-xdBD_cCNEiqeTmgXKZsEkdndLghT_WClvWeG1UstoivabU9gbTVsHYhPcPnDmpkRxgVYl3BdLtBZrA-bqnd-p-FRrYpJqt4PIOlumDTxB0jnw81Xp43s1onwL8QuPG0k22XouoAV2JX/s1600/Minecraft+thing.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgK-xdBD_cCNEiqeTmgXKZsEkdndLghT_WClvWeG1UstoivabU9gbTVsHYhPcPnDmpkRxgVYl3BdLtBZrA-bqnd-p-FRrYpJqt4PIOlumDTxB0jnw81Xp43s1onwL8QuPG0k22XouoAV2JX/s1600/Minecraft+thing.jpg" height="251" width="400" /></a></div>
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<span style="mso-bidi-font-size: 12.0pt; mso-no-proof: yes;"><br /></span><span style="mso-bidi-font-size: 12.0pt;"></span></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="mso-bidi-font-size: 12.0pt;">You might argue Ari missed the delight of
Duccio’s color-ensembles, the drama of his color contrasts, the intricate
spatial relations within the turrets, domes, and crenellations.<span style="mso-spacerun: yes;"> </span>However, this 21<sup>st</sup> century child
felt excited by visual qualities very much alive and well in a computer game he
plays with his cousins.</span></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="mso-bidi-font-size: 12.0pt;">Magic Moment # 3.</span></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="mso-bidi-font-size: 12.0pt;">When we left the Frick, we were very hungry.</span></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="mso-bidi-font-size: 12.0pt;">We decided to walk the 13 blocks to the Neue
Galerie because there we could eat at either of its two restaurants—both of
which served Viennese coffee, pastries, and good food.</span></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="mso-bidi-font-size: 12.0pt;">While we waited for our meal, Ari enjoyed a
drink that included house made chocolate milk, vanilla ice cream, whipped
cream, and cocoa powder.<span style="mso-spacerun: yes;"> </span>I took out my
cell phone to immortalize the moment just as he turned to face me.</span></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="mso-bidi-font-size: 12.0pt;">Here is the picture:</span></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCVXz0UHUKKd776Fin6RJcUNf0vP357w8Gg6oSKw2R1gRc39u8N0sC8-8CKWnuunV-TZAqJx2CDv8UFoJldk8ykgONswCVx06EXrHaULQ45mVdw6gLB6zysZjeV4_59V_F-ntfVKg7ilMz/s1600/Boy+without+the+Pearl+Earring.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCVXz0UHUKKd776Fin6RJcUNf0vP357w8Gg6oSKw2R1gRc39u8N0sC8-8CKWnuunV-TZAqJx2CDv8UFoJldk8ykgONswCVx06EXrHaULQ45mVdw6gLB6zysZjeV4_59V_F-ntfVKg7ilMz/s1600/Boy+without+the+Pearl+Earring.jpg" height="400" width="300" /></a></div>
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<span style="mso-bidi-font-size: 12.0pt; mso-no-proof: yes;"></span><span style="mso-bidi-font-size: 12.0pt;"></span></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="mso-bidi-font-size: 12.0pt;">Ari asked to see the photo, and he
immediately titled it “Boy without a Pearl Earring.”</span></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="mso-bidi-font-size: 12.0pt;">Magic Moment # 4.</span></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="mso-bidi-font-size: 12.0pt;">This day I spent with my grandson illustrates
genuine interest in action. <span style="mso-spacerun: yes;"> </span>Dr. Barnes
defines its essential characteristic this way: “It induces him who has it to take
pains, to make efforts, and so to order his activities that the object of his
interest takes form in his mind and becomes the propelling force of his
activities.<span style="mso-spacerun: yes;"> </span>Persistence of effort is the
indispensable condition of real interest…What has value for us—and this is an
alternative expression for ‘what interests us’—is attended to in detail, and
remembered.” (<i style="mso-bidi-font-style: normal;">A in P, </i>pp. 10-11)</span></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="mso-bidi-font-size: 12.0pt;">In effect, interest drives curiosity, and
when we want to understand the art in paintings, it fuels our efforts and is
worth, very much worth, the work involved.</span></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="mso-bidi-font-size: 12.0pt;">Donna Tartt’s protagonist, Theo, in <i style="mso-bidi-font-style: normal;">The Goldfinch, </i>sums this up: “And as
much as I’d like to believe there’s a truth beyond illusion, I’ve come to
believe that there’s no truth beyond illusion. Because, between ‘reality’ on
the one hand, and the point where the<span style="mso-spacerun: yes;">
</span>mind strikes reality, there’s a middle zone, a rainbow edge where beauty
comes into being, where two very different surfaces mingle and blur to provide
what life does not: and this is the space where all art exists, and all magic.”
(pp. 770-71)</span></div>
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<br /></div>
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<br /></div>
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<br /></div>
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<br /></div>
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<br /></div>
Marilyn Baumanhttp://www.blogger.com/profile/09221864675491721708noreply@blogger.com2tag:blogger.com,1999:blog-8720084087539855728.post-18701744582522986692014-01-20T15:14:00.000-08:002014-01-20T15:18:08.871-08:00Young Mother, Cont’d<!--[if !mso]>
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I received so many responses to my previous two posts (<span style="mso-fareast-font-family: Calibri;"><a href="http://whylookatart.blogspot.com/2013/12/dont-judge-book-by-its-cover.html">Don’t
Judge a Book by its Cover</a> and <a href="http://whylookatart.blogspot.com/2014/01/dont-judge-painting-by-its-subject.html">Don’t
Judge a Painting by its Subject</a>) I decided to sum up this exploration before
I move on to another topic.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-fareast-font-family: Calibri;">Your responses
verified an assumption of mine.<span style="mso-spacerun: yes;"> </span>Each of
you, based on what I described, added your own viewpoint, and your description
enlarged and enriched what I had discovered.<span style="mso-spacerun: yes;">
</span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-fareast-font-family: Calibri;">I often tell
students no two people will describe the aesthetic content in a painting
exactly the same way.<span style="mso-spacerun: yes;"> </span>Each will approach
the work of art driven by interest, life experience, and adeptness in making
connections among the visual ideas represented in the traditions of art.<span style="mso-spacerun: yes;"> </span>This does not mean, however, they can say
things we cannot verify by examining the painting.<span style="mso-spacerun: yes;"> </span>They cannot say a unit of color is red if it
is blue, or a line is straight if it is curvy.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-fareast-font-family: Calibri;">Here is the
painting:</span></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPmRhwQCgIIaqSX14t5Va2Fzp8s8ny9O_khCA9MxJM8tddY84lL11rAve4F92gwSazBiXLXqkuv9pbmyb5mAf5DrPMMyNgcG7lCITLMVBJ_zJ0KvBU1U2RUFu429V-33EqJCaKxGrV99Ec/s1600/Renoir%252C+Young+Mother%252C+1881%252C+Barnes.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPmRhwQCgIIaqSX14t5Va2Fzp8s8ny9O_khCA9MxJM8tddY84lL11rAve4F92gwSazBiXLXqkuv9pbmyb5mAf5DrPMMyNgcG7lCITLMVBJ_zJ0KvBU1U2RUFu429V-33EqJCaKxGrV99Ec/s1600/Renoir%252C+Young+Mother%252C+1881%252C+Barnes.jpg" height="400" width="278" /></a></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="mso-no-proof: yes;"></span><span style="mso-fareast-font-family: Calibri;"></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
Renoir, <i style="mso-bidi-font-style: normal;">Young Mother, </i>1881, Barnes</div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal">
I concluded my analysis this way:</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
Renoir presents the seated woman
bending slightly forward, the baby enveloped in her arms and held in place by
her right hand supporting the baby’s raised right arm and her left hand
sandwiched between the baby’s left arm and left hip.<span style="mso-spacerun: yes;"> </span>Her head, slightly lowered, is directly above
the baby’s head.<span style="mso-spacerun: yes;"> </span>The baby’s head turns
to the right.<span style="mso-spacerun: yes;"> </span>The chair and the mother’s
lower body tilt to the left. So do the baby’s legs. The mother’s right foot sinks
into the floor at the lower left; her left foot, balanced on its toe, sets back
on a diagonal to the right.<span style="mso-spacerun: yes;"> </span>The two
chair legs repeat this, but the diagonal tilts slightly to the left.<span style="mso-spacerun: yes;"> </span>While the upper half of the woman’s body together
with the upper half of the baby’s body form a stable pyramidal composition, the
entire ensemble of both figures, the chair, the jug and basin, the background,
and the space of floor between the woman’s feet form a diamond
composition.<span style="mso-spacerun: yes;"> </span>This gives the ensemble
both stability and in-and- out, back-and-forth, dynamic movement.</div>
<div class="MsoNormal" style="margin-left: .5in;">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in; text-indent: -.5in;">
Here are two
comments of the many you shared with me:</div>
<div class="MsoNormal" style="margin-left: .5in; text-indent: -.5in;">
<br /></div>
<div class="MsoNormal">
Lynn wrote:<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="mso-fareast-font-family: "Times New Roman";">In <i style="mso-bidi-font-style: normal;">Young Mother </i>Renoir
captures and expresses the physical movement of a mother holding a baby on her
lap through subtle rhythmic repetitions. He has given us a view of motion
in a quiet setting. Daumier, Degas, and Lautrec also were masters of movement
expression, the change of active planes in a painting or drawing. </span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="mso-fareast-font-family: "Times New Roman";">With Renoir's mother and child, a simple composition expresses
a pause in action as if it just occurred—and will not last. I see the
child's upper body receding, leaning back into the mother's body, while the
mother leans slightly forward over the child. The child's legs extend
outward and sideward in movement. Though the mother's right foot is
placed flat on the tile floor, her left foot is tucked under her body and the
chair, with weight on the ball of the foot, ready to move quickly in order to
balance the child's torso and legs. The grasp of the mother's and child's
hands counterbalance each other in planes as well—for an instant. </span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="mso-fareast-font-family: "Times New Roman";">The intersections of the planes do not always balance.
The child's torso leans back more than the mother's goes forward.
The mother's legs are not at the same angle with each other—or with her
upper body. The child's head is more upright than its body. The
figures contain many complex perspectives.</span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="mso-fareast-font-family: "Times New Roman";">Your description of the scarf and other motifs reinforce the
intersection of planes of movement, as does the crisscross of the tile, the
brush strokes on the wall paper background, and the integration of the brush
strokes and motifs in the painting generally. The little flowers on the
wallpaper, the design at the bottom of the skirt, the scarf, are all decorative
touches that add movement to the painting for our eyes to follow.</span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="mso-fareast-font-family: "Times New Roman";">Physical movement expressing dynamic motion in three-dimensional
space is the theme of this painting.</span></div>
<div class="MsoNormal" style="margin-left: .5in; text-indent: -.5in;">
<br /></div>
<div class="MsoPlainText">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Barbara
wrote:<span style="mso-spacerun: yes;"> </span>“A 1917 essay titled "Art as
Technique" by Viktor Shklovsky helped me grasp the purpose of art.<span style="mso-spacerun: yes;"> </span>In it, Shklovsky argues art exists to help us
feel things, to make the stone stony.<span style="mso-spacerun: yes;">
</span>The purpose of art is to impart the sensation of things as they are
perceived and not as they are known.”</span></div>
<div class="MsoPlainText">
<br /></div>
<div class="MsoPlainText">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">These
two give you the gist of what most of you experienced.</span></div>
<div class="MsoPlainText">
<br /></div>
<div class="MsoNormal">
As you uncovered the aesthetic meaning in Renoir’s <i style="mso-bidi-font-style: normal;">Young Mother</i>, you enriched your visual
appreciation for subtle in-and-out, back-and-forth rhythmic movement.<span style="mso-spacerun: yes;"> </span>Art expresses the quality of things (i.e., makes
the stone stony) and teaches us new ways of seeing (i.e. the drama of light and
dark). <span style="mso-spacerun: yes;"> </span>Put even more concisely:<span style="mso-spacerun: yes;"> </span>Art teaches.</div>
<div class="MsoPlainText">
<br /></div>
<div class="MsoPlainText">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">To
conclude, I will add this note, but not because it has anything directly to do
with Renoir’s painting.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="margin-left: .5in; text-indent: -.5in;">
<br /></div>
<div class="MsoNormal">
Today, in Metropolitan Diary, a section in <i style="mso-bidi-font-style: normal;">The New York Times, </i>Morton Landowne
wrote:</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
Perhaps it caught my eye because I
was still entranced by the mastery of light I had just seen in so many of the
paintings from The Hague’s Mauritshuis museum at the Frick. So while walking
east on 70<sup>th</sup> Street, I noticed a woman approaching, out of the
evening darkness into the dim glow of a streetlamp.<span style="mso-spacerun: yes;"> </span>She had an angelic face and blond locks,
loosely framed by the hood of her jacket, and was glancing down at a cellphone,
parallel to her chest.<span style="mso-spacerun: yes;"> </span>The illumination from
the phone evenly lit her face, and only her face, as if from candlelight, and
as we passed, I felt certain I was seeing an image, contemporary yet timeless,
worthy of being immortalized by Vermeer (p. A13).</div>
<div class="MsoNormal" style="margin-left: .5in;">
<br /></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
I
conclude with this perception about Vermeer’s work for two reasons: (1) it sums
up what we learn from works of art; (2) because I spent yesterday in New York
City at the Frick Collection.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
I
had avoided going to see <span style="mso-bidi-font-size: 12.0pt;">“<a href="http://www.frick.org/exhibitions/mauritshuis" title="Details.">Vermeer,
Rembrandt, and Hals: Masterpieces of Dutch Painting From Mauritshuis</a>”
because I knew it would be crowded, and I had already seen the paintings included
in the exhibit at the Mauritshuis several years ago. In fact, <i style="mso-bidi-font-style: normal;">The New York Times </i>estimated 235,000 will
have entered the exhibit by the time it ended yesterday.<span style="mso-spacerun: yes;"> </span>I was one of them. </span></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="mso-bidi-font-size: 12.0pt;">This is how it happened: Last week, when I
visited my daughter, I recommended she read <i style="mso-bidi-font-style: normal;">The
Goldfinch, </i>the blockbuster novel by Donna Tartt.<span style="mso-spacerun: yes;"> </span>My grandson overheard our conversation and
exclaimed, “Grandma, if I go see that painting I can get Brain Points for my
gifted program.”<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="mso-bidi-font-size: 12.0pt;">How could we not go?<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="mso-bidi-font-size: 12.0pt;">I told my grandson I would get the tickets,
and he and his dad would meet my husband and me in New York. That is what we
did. </span></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="mso-bidi-font-size: 12.0pt;">I am not sure what I will write about in my
next post, but it will have something to do with our visit to the Frick Collection.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
Marilyn Baumanhttp://www.blogger.com/profile/09221864675491721708noreply@blogger.com1tag:blogger.com,1999:blog-8720084087539855728.post-30470651111341756912014-01-06T08:13:00.000-08:002014-01-06T08:18:52.359-08:00Don't Judge a Painting by its Subject<!--[if !mso]>
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<br />
<div class="MsoNormal">
My previous post, <a href="http://whylookatart.blogspot.com/2013/12/dont-judge-book-by-its-cover.html">“Don’t
Judge a Book by its Cover,”</a> asked you to apply your objective analysis
tools to <i style="mso-bidi-font-style: normal;">Young Mother, </i>a Renoir
painting in The Barnes Foundation.<span style="mso-spacerun: yes;"> </span>Thank
you for sharing your perceptions.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
As I pondered how to tackle this post, I fortuitously read a
letter to the editor of <i style="mso-bidi-font-style: normal;">The New York
Times.<span style="mso-spacerun: yes;"> </span></i>Mark Slouka, a published
writer of seven books of fiction and nonfiction, wrote:</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
Art is a supremely individual
expression.<span style="mso-spacerun: yes;"> </span>It doesn’t ask permission;
it doesn’t take an exit poll and adjust accordingly.<span style="mso-spacerun: yes;"> </span>Artists say what they know, paint what they
see—they have no choice in the matter—and <b style="mso-bidi-font-weight: normal;">it’s
our privilege to be brought into their world, so distinct from our own, and to
be altered by that experience. </b><br />(12.30.13, A16)</div>
<div class="MsoNormal" style="margin-left: .5in;">
</div>
<div class="MsoBodyTextIndent" style="text-align: left;">
</div>
<div class="MsoNormal">
A good place to start, I thought.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
About mid-term, I test the students who study objective
analysis with me by asking them the following question: what is the first thing
you must do to understand the art in a painting?<span style="mso-spacerun: yes;"> </span>My goal is to confirm they have mastered the
tools I have taught so far.<span style="mso-spacerun: yes;"> </span>I usually
get many apt answers: (1) describe the rhythms; (2) describe the relationships
of color, light, line, and space; (3) state the picture idea.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I push on: “the first thing?” I ask again. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Finally, someone gets it: “Look at it,” the star student
shouts.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Yes, look at it.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
No matter your first reaction, whether positive or negative,
whether you like the picture or hate it, you must first look at it to have any
chance of understanding its aesthetic meaning and any possibility of
determining whether all aspects of the picture are successfully resolved—down
to the smallest units, individual brush strokes.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Jumping to conclusions, based on personal preference, will
not get you there.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Let’s begin.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Here is the painting:</div>
<div class="MsoNormal">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2aoj4cQcE5sudcleP7IVxcHesvqzkrp89fwfowUnJsNlFq1vKjwhNbXloCDknSQvPpnNBKL2ILktS_jEawW1_O5gvBvLVrK4dEz_W61AFyybU3FtNkDmf0uA3ihBnfeCsqcJoEwFp3zJ9/s1600/Renoir,+Young+Mother,+1881,+Barnes+(2).jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2aoj4cQcE5sudcleP7IVxcHesvqzkrp89fwfowUnJsNlFq1vKjwhNbXloCDknSQvPpnNBKL2ILktS_jEawW1_O5gvBvLVrK4dEz_W61AFyybU3FtNkDmf0uA3ihBnfeCsqcJoEwFp3zJ9/s1600/Renoir,+Young+Mother,+1881,+Barnes+(2).jpg" height="400" width="278" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Renoir,
<i style="mso-bidi-font-style: normal;">Young Mother, </i>1881, Barnes</td></tr>
</tbody></table>
<div class="MsoNormal">
<span style="mso-tab-count: 4;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
To be honest, most of us start with the obvious: what the
subject was.<span style="mso-spacerun: yes;"> </span>In this case, you may feel
charmed by the lovely young mother and the chubby baby she cuddles on her
lap.<span style="mso-spacerun: yes;"> </span>Or you may feel irritated by the prettiness
or cuteness of the very same subject facts.<span style="mso-spacerun: yes;">
</span>You may know, or research, when and why Renoir painted this picture and
what he said about it.<span style="mso-spacerun: yes;"> </span>For example, in
the autumn of 1881, during his visit to Italy, Renoir painted in Naples, and he
wrote this to Paul Durand-Ruel: “I am very content and think I’ll bring you
back some pretty <i style="mso-bidi-font-style: normal;">(jolies) </i>things.<span style="mso-spacerun: yes;"> </span>I am back on my feet again.<span style="mso-spacerun: yes;"> </span>It’s going very well.<span style="mso-spacerun: yes;"> </span>I have begun a figure of a young girl with a
child, if I don’t scrape it out.” (quoted in <i style="mso-bidi-font-style: normal;">Renoir in the Barnes Foundation, </i>p. 103)</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
To do our work, however, we must subdue the subject facts,
set aside information about the artist, and look at the picture facts.<span style="mso-spacerun: yes;"> </span>I find this easier to do if I invert the
picture.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Here it is, upside down:</div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMlPBhEiQDMZW5-0chUAtkFFP04-WwUY2I8-jLBfiG-_8CjOaNnFC7GP37Kt7H0LWYWtqm6VBWXzq7NEmdH7rj4BtrF2GQRLv6VF0GmbmjRQeotlzchy7DI5jKcXjoXBYXLi1TWcoiS8Yl/s1600/Renoir%252C+Young+Mother%252C+1881%252C+Barnes+%25283%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMlPBhEiQDMZW5-0chUAtkFFP04-WwUY2I8-jLBfiG-_8CjOaNnFC7GP37Kt7H0LWYWtqm6VBWXzq7NEmdH7rj4BtrF2GQRLv6VF0GmbmjRQeotlzchy7DI5jKcXjoXBYXLi1TWcoiS8Yl/s1600/Renoir%252C+Young+Mother%252C+1881%252C+Barnes+%25283%2529.jpg" height="400" width="278" /></a></div>
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<span style="mso-no-proof: yes;"><br /></span></div>
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<br /></div>
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Upside down, it is easier to see how space recedes dramatically
to the left of the figures and, in contrast, ascends vertically to the right of
the figures.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigVbIfP38LiCASSewEID1sFqzER7AFBhYvmqduqo2fM8ykfe7O330irtEvbXUDY42Y9QU52A9GKMAkd8Uynmmat9WJi9gL3WM-7s0jsZhJQzpg9IsTHp5A5CaG9_Hh08gGEfBoLwUJC1Us/s1600/Renoir%252C+Young+Mother%252C+detail+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigVbIfP38LiCASSewEID1sFqzER7AFBhYvmqduqo2fM8ykfe7O330irtEvbXUDY42Y9QU52A9GKMAkd8Uynmmat9WJi9gL3WM-7s0jsZhJQzpg9IsTHp5A5CaG9_Hh08gGEfBoLwUJC1Us/s1600/Renoir%252C+Young+Mother%252C+detail+2.jpg" height="400" width="122" /></a></div>
<span style="height: 422px; margin-left: 535px; margin-top: 126px; mso-ignore: vglayout; position: absolute; width: 67px; z-index: 251660288;"></span><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjH-k7AxiJB91o7C9lGOr1Xp1CLUsOnqhzHiYFiYuPMnTOrt1L1L0O8iI-ma9qWtcM8a9Jjvs1-j7KxgPv1qV5bLwHgtIZ_ZorMTtw25W_5XyaaEd0ugUR16GRThQza6azy8vBfrmOPeEag/s1600/Renoir%252C+Young+Mother%252C+detail+1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjH-k7AxiJB91o7C9lGOr1Xp1CLUsOnqhzHiYFiYuPMnTOrt1L1L0O8iI-ma9qWtcM8a9Jjvs1-j7KxgPv1qV5bLwHgtIZ_ZorMTtw25W_5XyaaEd0ugUR16GRThQza6azy8vBfrmOPeEag/s1600/Renoir%252C+Young+Mother%252C+detail+1.jpg" height="400" width="96" /></a></div>
<span style="mso-tab-count: 5;"><span style="mso-spacerun: yes;"> </span> </span><br />
<div class="MsoNormal">
<span style="mso-tab-count: 7;"> </span></div>
<div class="MsoNormal">
On the right, a bright orange vertical plane (when inverted,
it is now at the top) sets off two projecting and contrasting units of color
and shape: a dark blue-black oval backed by a wider, lighter green-gray-tan
circle.<span style="mso-spacerun: yes;"> </span>These, in turn, float in front
of a continuing rectilinear plane of lighter orange-tan-green, a horizontal
band of blue-gray, a narrower band of orange and green dots and stripes, and a
wider rectangle of light blue-pink with small decorative dabs of deeper orange
dots and green stripes.</div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal">
Light bathes this picture and combines with the warm/cool and
rich, vivid color contrasts to produce rhythmic luminous patterns throughout
the canvas. Most obvious: the fiery red-orange floor contrasted with the blue
of the mother’s dress.<span style="mso-spacerun: yes;"> </span>Most notable:
examine the slanting brush strokes modeling the mother’s dress and the basin
and jug.<span style="mso-spacerun: yes;"> </span>The slanting brush strokes
create volume and solid, three-dimensionality:<span style="mso-spacerun: yes;">
</span>the mother’s thighs combined with the baby’s legs create a series of
solidly three-dimensional rolling bulges; the slanting brush strokes convert
the jug and basin into convincing three-dimensional solid, contrasting
dark/light glowing color volumes.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoListParagraph">
<span style="mso-tab-count: 1;"> </span></div>
<div class="MsoNormal">
</div>
<div class="MsoNormal">
Now examine the painting right side up.<span style="mso-spacerun: yes;"> </span>The slanting brush strokes create planes of
space in ((1) the background wallpaper; (2) the receding background wall; and (3)
the floor.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg24fTkEOzaY7CW05KOCMFg51cGE4Qljg2-qj7QaWLy-lepP21owMQalhq8SjerLrmhzIZGjoMiDQ4ZcTJQ1rD3aECF3ZIRzpP8cobSlNVZ7Nfr7a7YKolocKfHkZkk34PWMMGN35soyFQ7/s1600/Renoir%252C+Young+Mother%252C+1881%252C+Barnes+%25282%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg24fTkEOzaY7CW05KOCMFg51cGE4Qljg2-qj7QaWLy-lepP21owMQalhq8SjerLrmhzIZGjoMiDQ4ZcTJQ1rD3aECF3ZIRzpP8cobSlNVZ7Nfr7a7YKolocKfHkZkk34PWMMGN35soyFQ7/s1600/Renoir%252C+Young+Mother%252C+1881%252C+Barnes+%25282%2529.jpg" height="400" width="278" /></a></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgP2SsVKkNiI6hLazLtKtyfFjLJaKHCrupZ60_tEzGSbsy6I1wvZFisPNkNkpXCtqaiS7Fqv58LZ2BUWRB0LiG8wnRAConF_2Mc5uZWBPMaR2t7Qm-MsbAYiq3N9prI8yFV3f3Z3_xScorX/s1600/Renoir%252C+Young+Mother%252C+detail+5.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgP2SsVKkNiI6hLazLtKtyfFjLJaKHCrupZ60_tEzGSbsy6I1wvZFisPNkNkpXCtqaiS7Fqv58LZ2BUWRB0LiG8wnRAConF_2Mc5uZWBPMaR2t7Qm-MsbAYiq3N9prI8yFV3f3Z3_xScorX/s1600/Renoir%252C+Young+Mother%252C+detail+5.jpg" height="400" width="252" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">1</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-WmqXH9hE1viI0THsLpYAIFt3iNMYjQ8IAHc81J8PFnXsz7CdCDUDjas0T7AOoiNRyNVxD7N8shdT0P7uo80S98S9kChjbiPcce4Nt-VPEjNVHs-x-PGY4kmjfU8iFuGHhOmYDbs5PisV/s1600/Renoir%252C+Young+Mother%252C+detail+6.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-WmqXH9hE1viI0THsLpYAIFt3iNMYjQ8IAHc81J8PFnXsz7CdCDUDjas0T7AOoiNRyNVxD7N8shdT0P7uo80S98S9kChjbiPcce4Nt-VPEjNVHs-x-PGY4kmjfU8iFuGHhOmYDbs5PisV/s1600/Renoir%252C+Young+Mother%252C+detail+6.jpg" height="400" width="186" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">2</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgB9KXUyH0qrHj9OtN-pEVLkzUpyDLlJQb7FEhBj7eeMtkJk0AGFErfgpydx-Weq4KDTmRUIpcp9QKoVz_h4ywwXBqeR91CQriVJTVuwxdibMQL3hDIsuWfdBpF6AEDFOedLkH_tDHZYm5q/s1600/Renoir%252C+Young+Mother%252C+detail+7.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgB9KXUyH0qrHj9OtN-pEVLkzUpyDLlJQb7FEhBj7eeMtkJk0AGFErfgpydx-Weq4KDTmRUIpcp9QKoVz_h4ywwXBqeR91CQriVJTVuwxdibMQL3hDIsuWfdBpF6AEDFOedLkH_tDHZYm5q/s1600/Renoir%252C+Young+Mother%252C+detail+7.jpg" height="221" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">3</td></tr>
</tbody></table>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="mso-no-proof: yes;"><br /></span></div>
<div class="MsoNormal">
</div>
<div class="MsoNormal">
These decorative patterns of brush strokes, superimposed on
units of color and light, retain sufficient connection with the textures
themselves to make more convincing the expression of each unit’s specific
quality.<span style="mso-spacerun: yes;"> </span>Check, for example:<span style="mso-spacerun: yes;"> </span>the heavy fabric of the mother’s dress vs.
the smooth, shiny surface of the dark blue jug; the supple, softness of the
baby’s flesh; the patent leather shine of the mother’s shoes; the lightness of
the cloth hanging in the space at the top right. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The painting of the basin, jug, and floor exhibit broad pronounced
brushwork and superimposed units of decoration.<span style="mso-spacerun: yes;">
</span>These units help determine the specific picture idea that unifies the
painting:<span style="mso-spacerun: yes;"> </span>the tile floor becomes an
upward slanting, lightly gridded area of orange-red glowing color units
interspersed with floating patches of white-gray-green; the jug and basin slip
behind the child’s extended leg moving to the left in a one-two-three beat; the
child, the mother, and the chair echo the one-two-three beat as they recede to
the right.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In minor keys, the orange of the mother’s neckpiece
contrasts with the short, blue-black, curly stripes on it.<span style="mso-spacerun: yes;"> </span>These stripes echo the curls that cover her
forehead;<span style="mso-spacerun: yes;"> </span>they echo the stripes of blue,
purple, orange, and red fanning out from the part in her hair; they echo the gray-pink
highlights in her dress; they echo the shorter blobs of pink on the baby’s
dress; they echo the wider blobs of pink and red-brown on the jug; they echo
the stripes of green, white, and orange on the basin and the edge of the chair;
in the background they echo the orange-pink dabs accented with green stripes
which float in front of the pink/blue geometry of cubes and planes as they
recede into the right corner of space. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
John Dewey, in <i style="mso-bidi-font-style: normal;">Art as
Experience, </i>labels what I just described as the “substance” of the
painting.<span style="mso-spacerun: yes;"> </span>Be honest: are you wondering
what this analysis so far has to do with a mother holding a baby?<span style="mso-spacerun: yes;"> </span>Why subject that subject to aesthetic
feelings about space recession, decorative stripes and blobs, color/light
contrasts, and lively, luminous color/light activity?</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Here’s why.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Renoir presents the seated woman bending slightly forward,
the baby enveloped in her arms and held in place by her right hand supporting
the baby’s raised right arm and her left hand sandwiched between the baby’s
left arm and left hip.<span style="mso-spacerun: yes;"> </span>Her head,
slightly lowered, is directly above the baby’s head.<span style="mso-spacerun: yes;"> </span>The baby’s head turns to the right.<span style="mso-spacerun: yes;"> </span>The chair and the mother’s lower body tilt to
the left. So do the baby’s legs.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>The mother’s right foot sinks into the floor
at the lower left; her left foot, balanced on its toe, sets back on a diagonal to
the right.<span style="mso-spacerun: yes;"> </span>The two chair legs repeat
this, but the diagonal tilts slightly to the left.<span style="mso-spacerun: yes;"> </span>While the upper half of the woman’s body together
with the upper half of the baby’s body form a stable pyramidal composition, the
entire ensemble of both figures, the chair, the jug and basin, the background,
and the space of floor between the woman’s feet form a diamond
composition.<span style="mso-spacerun: yes;"> </span>This gives the ensemble
both stability and an in-and- out, back-and-forth, dynamic movement.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
If you go back and examine everything I describe, you will verify
the subtle, ingenious, creative ways Renoir adapted a traditional subject of
mother and child to express visual ideas that alter our visual experience or,
as Violette de Mazia said, provide us new ways of seeing.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
And that is the art in this picture.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
Marilyn Baumanhttp://www.blogger.com/profile/09221864675491721708noreply@blogger.com1tag:blogger.com,1999:blog-8720084087539855728.post-12347540562032670552013-12-21T09:12:00.000-08:002013-12-21T12:24:26.526-08:00Don't Judge a Book by its Cover<!--[if !mso]>
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<div class="MsoNormal">
Recently I visited the “Armory Show at 100” at the New-York
Historical Society.<span style="mso-spacerun: yes;"> </span>The exhibit
continues until February 23, 2014, so if what I say about it whets your
appetite, click here for more information:<span style="mso-spacerun: yes;">
</span><a href="http://www.nyhistory.org/">www.nyhistory.org</a>.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
That said, I do not intend to write about the exhibit.<span style="mso-spacerun: yes;"> </span>As the title of this post suggests, I intend
to write about our tendency to judge an event, a work of art, a person based on
nothing more than a first impression.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
My case in point: the hostile criticism Matisse’s painting, <i style="mso-bidi-font-style: normal;">Blue Nude,</i> provoked from the first time
Matisse exhibited it in 1907 and subsequently when it was shown in the 1913
exhibit, “The International Exhibition of Modern Art,” held at the Armory.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>“A nude woman, ugly,
spread out on opaque blue grass under some palm trees,” Louis Vauxcelles wrote
in “<i style="mso-bidi-font-style: normal;">Le Salon des Indépendants” </i>on
March 20, 1907, where Matisse first exhibited this painting.<span style="mso-spacerun: yes;"> </span>He added that the drawing appeared
“rudimentary and the colors cruel.” (<i style="mso-bidi-font-style: normal;">Gil
Blas, </i>p. 1)</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
When <i style="mso-bidi-font-style: normal;">Blue Nude </i>was
exhibited at the Armory Show in 1913, students at the Art Institute of Chicago
burned copies of Matisse’s work in effigy.<span style="mso-spacerun: yes;">
</span>When Claribel Cone purchased the painting at the John Quinn estate sale
in 1926, it was still an audacious acquisition.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In response to such criticism, Matisse said, “If I met such
a woman on the street, I should run away in terror.<span style="mso-spacerun: yes;"> </span>Above all, I do not create a woman, <i style="mso-bidi-font-style: normal;">I make a picture." </i>(translated by Flam in
<i style="mso-bidi-font-style: normal;">Matisse on Art, </i>p. 132)</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
When I saw it at the “Armory Show at 100,” it lit up the
room.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I had never seen the original.<span style="mso-spacerun: yes;"> </span>Each time I visited the Cone Collection in
the Baltimore Museum of Art, it was on loan.<span style="mso-spacerun: yes;">
</span>No image I had seen, digital or printed, prepared me for the power of
it.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Here it is:</div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAylZic3sBuAPNGewRFsF_d-GDFs2tpi2RMHhW3ON_c_SYvQTxxm26pCiNhUSSRGKwkpboE8YeN96jsQ9lC6PIVtmE4nk8dodimo1AkYSx3mmQeAvO0g9euuJsymaHWRsXkVm9EhjUYjee/s1600/Matisse,+Blue+Nude+from+Armory+Show.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="214" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAylZic3sBuAPNGewRFsF_d-GDFs2tpi2RMHhW3ON_c_SYvQTxxm26pCiNhUSSRGKwkpboE8YeN96jsQ9lC6PIVtmE4nk8dodimo1AkYSx3mmQeAvO0g9euuJsymaHWRsXkVm9EhjUYjee/s320/Matisse,+Blue+Nude+from+Armory+Show.jpg" width="320" /></a></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="mso-no-proof: yes;"></span></div>
<div class="MsoNormal" style="text-align: left;">
<i style="mso-bidi-font-style: normal;"><span style="mso-tab-count: 3;"> </span></i>Matisse,
<i style="mso-bidi-font-style: normal;">Blue Nude, </i>1907, Baltimore Museum of
Art</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Patricia Cohen, writing in <i style="mso-bidi-font-style: normal;">The New York Times, </i>said: “So it is essential to remember that the
original show, which introduced European modernists<span style="mso-spacerun: yes;"> </span>like Van Gogh, Gauguin, Duchamp, Cézanne,
Matisse and Edvard Munch to Americans, did not just present new art.<span style="mso-spacerun: yes;"> </span>It required a new way of seeing.<span style="mso-spacerun: yes;"> </span>Imagine Mozart hearing Metalica.” (10.27.13,
p. 14).</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
It did not require a “new way of seeing” so much as an
objective way of seeing.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
If we should not judge a book by its cover, we should not
judge a painting by its subject.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Ironically, <i style="mso-bidi-font-style: normal;">Blue Nude,
</i>according to Dr. Albert Barnes, should not have shocked anyone.<span style="mso-spacerun: yes;"> </span>Here are some of the sources in the
traditions he said Matisse adapted:</div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2l5AUpLR_J4_41hFBXQfSSWPfwsCCi2g8ztoKGsCh4rWzJBFfZJAm7NSSQhwvYup7f1jVbI5-qlAg2_1zg7Qojfvw1Ntt5GFKDjrmRO6iB6PnAIB1XQRqrug8N6QNwj38hBtyjoYeSLaA/s1600/Hanging,+late+6th+cen,+Egypt,+Linen,+wool,+Met.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2l5AUpLR_J4_41hFBXQfSSWPfwsCCi2g8ztoKGsCh4rWzJBFfZJAm7NSSQhwvYup7f1jVbI5-qlAg2_1zg7Qojfvw1Ntt5GFKDjrmRO6iB6PnAIB1XQRqrug8N6QNwj38hBtyjoYeSLaA/s320/Hanging,+late+6th+cen,+Egypt,+Linen,+wool,+Met.jpg" width="320" /></a></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="mso-no-proof: yes;"></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
Hanging, late 6<sup>th</sup>
century, Egypt, Linen, wool, Met</div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal">
Dr. Barnes wrote: “This Egyptian textile is an anticipation
of distortion by which Matisse transforms a figure into an arabesque pattern (<i style="mso-bidi-font-style: normal;">The Art of Henri Matisse, </i>p. 248).</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Here are two more:</div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUVGV_eOguvUBa3_y89GOn8rt10MXz7jMZB7qTrR-3KLrd2EwBeju-4SG_-Zr6oreZHGxqm6ri_YdzQQkURsfOOmwfID-T0M49ADqUa08tspuGHK6xs8y40Ywz02GgfGoMjBS6OBvPfiS1/s1600/African+sculpture+Barnes+(2).jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUVGV_eOguvUBa3_y89GOn8rt10MXz7jMZB7qTrR-3KLrd2EwBeju-4SG_-Zr6oreZHGxqm6ri_YdzQQkURsfOOmwfID-T0M49ADqUa08tspuGHK6xs8y40Ywz02GgfGoMjBS6OBvPfiS1/s320/African+sculpture+Barnes+(2).jpg" width="194" /></a></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="mso-no-proof: yes;"></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<i>Female Figure</i>,
Baule peoples, late 19<sup>th</sup>-early 20<sup>th</sup> cen.,<i> </i>Barnes</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkFCI7ia25DsotnUus5Bo1TVKLQTQwX8rE6z72GAbHJ8D2tBggNSN7prmG3FnEbwSrzOa97-sg_Ur-LQlgxa_pX-w2eTl4fFsmmMO_xxMU3AwAuuZTHIzl_0_aNzNPIC4H18-ELjkUuw_m/s1600/Hindu+Persian+Sculpture.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkFCI7ia25DsotnUus5Bo1TVKLQTQwX8rE6z72GAbHJ8D2tBggNSN7prmG3FnEbwSrzOa97-sg_Ur-LQlgxa_pX-w2eTl4fFsmmMO_xxMU3AwAuuZTHIzl_0_aNzNPIC4H18-ELjkUuw_m/s320/Hindu+Persian+Sculpture.jpg" width="109" /></a></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="mso-no-proof: yes;"></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<i>Railing Pillar
with Yakshi, </i>Indian (Mathura), 2<sup>nd</sup> cen. AD, Barnes</div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal">
Dr. Barnes wrote the following about the two
sculptures:<span style="mso-spacerun: yes;"> </span>“Exaggeration of rounded
volumes to the point at which they appear detached from the body to which they
belong” occurs in the Hindu and Negro sculptures above (<i style="mso-bidi-font-style: normal;">The Art of Henri Matisse, </i>p. 316).<span style="mso-spacerun: yes;">
</span>This type of rounded projection is a central motif in the Matisse.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
And here is another precedent I discovered:</div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijfMC3Ari86HcLIC-Aj1TMFtsBGBdSeIvtzDiT_oGoLoqZBgoL41BfyPzT3SudkBS5ShUTWv-OYiMgFaIPhakjJKfBt64pQ5QfQEGbhJggI4uI9svCWYSx5CU1-ZsUiWrWuZkuEXUIR7Jk/s1600/Queen+of+Sheba,+Persian.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="231" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijfMC3Ari86HcLIC-Aj1TMFtsBGBdSeIvtzDiT_oGoLoqZBgoL41BfyPzT3SudkBS5ShUTWv-OYiMgFaIPhakjJKfBt64pQ5QfQEGbhJggI4uI9svCWYSx5CU1-ZsUiWrWuZkuEXUIR7Jk/s320/Queen+of+Sheba,+Persian.jpg" width="320" /></a></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="mso-no-proof: yes;"><br /></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<i>The Queen of
Sheba, </i>Unknown artist, Persian, c. 1600</div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal">
The arabesque motif and the setting of a figure within a
patterned landscape anticipate key features of <i style="mso-bidi-font-style: normal;">Blue Nude.</i></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
This is not to say the color relationships in the Matisse
are anything less than boldly dramatic.<span style="mso-spacerun: yes;"> </span>The
composition is based on a series of echoing arcs and curves that relate the
figure to the surrounding landscape, much as the Persian picture does.<span style="mso-spacerun: yes;"> </span>However, in the Matisse, the paint
application is vigorous throughout, the modeling rough and the transitions
abrupt.<span style="mso-spacerun: yes;"> </span>The bluish pentimenti (the
adjusted “shadows” to the left of the right arm and left breast) build volume.<span style="mso-spacerun: yes;"> </span>Exaggerated by over-painting, the pentimenti
give the figure a monumental force.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Rather than do a full analysis of this painting, I am going
to move on to what I want you to do.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The students in my just completed seminar “Cézanne, Renoir,
and Matisse” provided you this opportunity.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
When I sat them in front of Renoir’s <i style="mso-bidi-font-style: normal;">Young Mother, </i>and I asked them to describe their reactions to it, a
debate ensued.<span style="mso-spacerun: yes;"> </span>A few students vehemently
declared the picture unbalanced.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Here is the painting:</div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYgCekI_az7iNruURIRu2YkS8uPxb1c303uTheFkGRIDd0wP7duYCxpU3d5HA8DQMnhkcL9J5dYyExFd6hSb1AODI7uRF9PpRdlx0hdiKBDOGh2yZcI7QU8N8ZYXTqwtOGT5hXDaxorsm3/s1600/Renoir,+Young+Mother,+1881,+Barnes.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYgCekI_az7iNruURIRu2YkS8uPxb1c303uTheFkGRIDd0wP7duYCxpU3d5HA8DQMnhkcL9J5dYyExFd6hSb1AODI7uRF9PpRdlx0hdiKBDOGh2yZcI7QU8N8ZYXTqwtOGT5hXDaxorsm3/s320/Renoir,+Young+Mother,+1881,+Barnes.jpg" width="223" /></a></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="mso-no-proof: yes;"></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
Renoir, <i style="mso-bidi-font-style: normal;">Young Mother, </i>1881, Barnes</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The issue concerns the two “still-life” objects to the
left.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
No matter how many times I urged the group to confront this,
as yet, unverified first reaction, they resisted.<span style="mso-spacerun: yes;"> </span>I offered them the opportunity to
debate.<span style="mso-spacerun: yes;"> </span>They declined.<span style="mso-spacerun: yes;"> </span>I suggested they disregard the already
assigned comparison/contrast final project and substitute a full analysis of
this painting in its place.<span style="mso-spacerun: yes;"> </span>They said
no.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I now am asking you to take this on.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Do I hear 150 readers sighing?<span style="mso-spacerun: yes;"> </span>Are you thinking the following: “Really, now,
at the Holidays?<span style="mso-spacerun: yes;"> </span>You want me to do this
hard work at this time of year?”</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Yes, I do.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
If we are not to judge a painting by its subject, if we are
committed to objective analysis, we must do more than say so.<span style="mso-spacerun: yes;"> </span>We must roll up our sleeves, put on our
looking glasses (I am full of clichés today) and go to work.<span style="mso-spacerun: yes;"> </span>We have the job of “uncovering” the art in
the picture and/or to support our findings of “holes” (this is what Violette de
Mazia labeled flaws in an otherwise coherent work of art).<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Let me know your perceptions by the middle of January.<span style="mso-spacerun: yes;"> </span>Since this may take more than a few sentences,
please email your analysis to me.<span style="mso-spacerun: yes;"> </span>Click
here to do so: <a href="mailto:marilynbauman68@gmail.com">marilynbauman68@gmail.com</a>.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Happy Holidays!</div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<br /></div>
Marilyn Baumanhttp://www.blogger.com/profile/09221864675491721708noreply@blogger.com0tag:blogger.com,1999:blog-8720084087539855728.post-75829232962904466492013-11-27T17:23:00.001-08:002013-11-27T17:33:18.820-08:00Painting in the Dark Part II<!--[if !mso]>
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<br />
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<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In the previous post, <a href="http://whylookatart.blogspot.com/2013/10/painting-in-dark.html">Painting in
the Dark</a>, I asked for your help in describing the aesthetic content of my
painting <i style="mso-bidi-font-style: normal;">Red Clay Reservation</i>.<span style="mso-spacerun: yes;"> </span>I appreciate your responses.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I promised I would revisit this topic in November.<span style="mso-spacerun: yes;"> </span>Since I was running out of time, I worked
very hard to meet my own deadline.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
For starters, I want you to know how difficult it is for the
maker of the painting, me, to do the analytical work required to understand what
the painting says.<span style="mso-spacerun: yes;"> </span>I know that sounds
weird, but I will share with you two quotes that sums up this dilemma.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The first is from Doctorow, spoken during the same interview,
conducted by George Plimpton, I referred to in the previous post.<span style="mso-spacerun: yes;"> </span>When Plimpton asked Doctorow if he knew what
he was doing as he wrote, Doctorow replied, “It’s not calculated at all. It
never has been. One of the things I had to learn as a writer was to trust the
act of writing. To put myself in the position of writing to find out what I was
writing. I did that with <i style="mso-bidi-font-style: normal;">World’s Fair</i>,
as with all of them. The inventions of the book come as discoveries. At a
certain point, of course, you figure out what your premises are and what you’re
doing. But certainly, with the beginnings of the work, you really don’t know
what’s going to happen.”</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The second is from Matisse, quoted in <i>Rhythm and Line</i>,
when asked by Jacqueline and Maurice Guillaud what his work meant. He said, “You
want to be a painter?<span style="mso-spacerun: yes;"> </span>First of all you
must cut out your tongue because your decision has taken away from you the
right to express yourself with anything but your brush.”<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In other words, “Don’t ask me.”</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Those two statements ring true for me.<span style="mso-spacerun: yes;"> </span>However, since I am committed to objective
aesthetic analysis, and since I ask you to courageously practice using this
method, I can do no less.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I must also confess to making changes to my painting since
the last post.<span style="mso-spacerun: yes;"> </span>I could not help
myself.<span style="mso-spacerun: yes;"> </span>I looked at it, found sections
that did not “feel” right, and I adjusted them.<span style="mso-spacerun: yes;">
</span>So I need to share with you images of the painting as it is now, both
right side up and upside down.</div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5nBMjTo8wvEM9qL78Q_3ATEx4RqyRyeUBip6OQbN0v1nndkHfG7ZjitB9kYSRKyEUzV5odBcGquFItFEOdTbRk20DZ2ShfMuM7Gyof3Rjw9V8GjuVlQVXz1S1dsB6RKDvOSQktIPTdFT2/s1600/Red+Clay+Reservation+6+(2).jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5nBMjTo8wvEM9qL78Q_3ATEx4RqyRyeUBip6OQbN0v1nndkHfG7ZjitB9kYSRKyEUzV5odBcGquFItFEOdTbRk20DZ2ShfMuM7Gyof3Rjw9V8GjuVlQVXz1S1dsB6RKDvOSQktIPTdFT2/s320/Red+Clay+Reservation+6+(2).jpg" width="255" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgar2fdEuG4tBFf7oTPhFbjCxJxlVX0XKDfeKgQepEkJxX89oulXRd7R_QxpexeBVUdq0hUd6_22YYf_Z5uyFxLT3qZm-DRuqp82nQeZ2RGiGD35xtOXOVUFPdAeD1BqEmmueTEhzzm5lmg/s1600/Red+Clay+Reservation+7+inverted.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgar2fdEuG4tBFf7oTPhFbjCxJxlVX0XKDfeKgQepEkJxX89oulXRd7R_QxpexeBVUdq0hUd6_22YYf_Z5uyFxLT3qZm-DRuqp82nQeZ2RGiGD35xtOXOVUFPdAeD1BqEmmueTEhzzm5lmg/s320/Red+Clay+Reservation+7+inverted.jpg" width="255" /></a></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="mso-no-proof: yes;"></span></div>
<div class="MsoNormal">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="mso-no-proof: yes;"></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal">
Here are comments two of my readers provided:</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-bidi-font-size: 12.0pt;">“I see a wonderful
interchange of forward and back movement in the fore and middle ground, halted
in the background with the swirling cool colors, similar to the right swirling
cool curvilinear colors in the foreground. There is also alternating cool and
warm colors that move side to side and back and forth, for very lively
movement. The swirling lines in the central tree seem to enframe the two
trees on either side while bursting apart in the middle.”</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-bidi-font-size: 12.0pt;">“<span style="color: #333333;">Van Gogh brush strokes mixed with Gauguin-like color.”</span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="color: #333333; mso-bidi-font-size: 12.0pt;">And
here is the pattern the light areas made on the original version of the
painting, contributed by, as I call him, The Master of Photoshop:</span></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgn51xTFkXPhktZZuthMQBO1e7SUiiuHCFGg0BbFfzBNoS7izL33Ghal8qksntnKwMRh1_spgiFWX9pxAG_I9FgjKIiLRRjio33gPrGuJINXkHFLm6-5uGx2r-56OdMMX7n2OBqWin_b6X/s1600/Red+Clay+Reshighlights+8+cropped.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgn51xTFkXPhktZZuthMQBO1e7SUiiuHCFGg0BbFfzBNoS7izL33Ghal8qksntnKwMRh1_spgiFWX9pxAG_I9FgjKIiLRRjio33gPrGuJINXkHFLm6-5uGx2r-56OdMMX7n2OBqWin_b6X/s1600/Red+Clay+Reshighlights+8+cropped.jpg" /></a></div>
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<span style="color: #333333; font-family: "Georgia","serif"; font-size: 10.5pt; mso-no-proof: yes;"></span><span style="color: #333333; font-family: "Georgia","serif"; font-size: 10.5pt;"></span></div>
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<br /></div>
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<span style="color: #333333; mso-bidi-font-size: 12.0pt;">I
described the previous version of the painting this way: <span style="mso-spacerun: yes;"> </span>a series of circular rhythms of high-key
luminous color; geometric planes that jut in and out in relatively compressed
space; dramatic contrasts of hot and cold color; curvilinear vs. angular color volumes;
and an overall color harmony I could not describe.<span style="mso-spacerun: yes;"> </span></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="color: #333333; mso-bidi-font-size: 12.0pt;">Essentially,
then, this picture expresses drama and swirling movement of vivid and striking
color patterns that move back and forth and in and out in tight spatial
rhythms.</span></div>
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<br /></div>
<div class="MsoNormal">
<span style="color: #333333; mso-bidi-font-size: 12.0pt;">It
owes much of its color drama to Gauguin’s striking patterns of line and color
and dynamic vivid hues of color.</span></div>
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<br /></div>
<div class="MsoNormal">
<span style="color: #333333; mso-bidi-font-size: 12.0pt;">For
instance, look at these two paintings by Gauguin:</span></div>
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<br /></div>
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<span style="color: #333333; font-size: 10.0pt;">Gauguin, <i style="mso-bidi-font-style: normal;">Matamoe (Landscape with Peacocks), </i>1892, The Pushkin Museum, Moscow</span></div>
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<span style="font-size: 10.0pt;">Gauguin, <i style="mso-bidi-font-style: normal;">Mata
Mua (In Olden Times), </i>1892, Museo Thyssen-Bornemisza, Madrid</span></div>
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<span style="font-size: 10.0pt;"><br /></span></div>
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<br /></div>
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<i style="mso-bidi-font-style: normal;"><span style="mso-bidi-font-size: 12.0pt;">Matamoe </span></i><span style="mso-bidi-font-size: 12.0pt;">demonstrates a swirl of vivid, bright, lava-like roiling color patterns
receding into deep space.<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">Mata Mua </i>vertically sets the more placid
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<span style="mso-bidi-font-size: 12.0pt;">My picture
establishes spatial relationships among the three sets of “trees.”<span style="mso-spacerun: yes;"> </span>The central lightest and brightest vertical
tree rises upward and spreads its twisted branches in and out and back and
forth, establishing the theme that unites all the color units in the
picture.<span style="mso-spacerun: yes;"> </span></span></div>
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<br /></div>
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<span style="mso-bidi-font-size: 12.0pt;">The tree to the left
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<br /></div>
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<span style="mso-bidi-font-size: 12.0pt;">The tree on the
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<span style="mso-bidi-font-size: 12.0pt;">These swirling color
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<br /></div>
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<span style="mso-bidi-font-size: 12.0pt;">The spring house juts
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the swirling, curvilinear movements of luminous color units pulsing within a
relatively shallow space. </span></div>
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<br /></div>
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<span style="mso-bidi-font-size: 12.0pt;">When everything
comes together, whether in the making of the picture, or in the understanding
of it, satisfaction rewards the effort involved.<span style="mso-spacerun: yes;"> </span></span></div>
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<br /></div>
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<span style="mso-bidi-font-size: 12.0pt;">Here is how Dr.
Barnes describes this satisfaction: <span style="mso-spacerun: yes;"> </span>“We
respond to a work of art, not by doing something, but by participating in the
experience of the artist himself, seeing and feeling the world as he saw and
felt it.<span style="mso-spacerun: yes;"> </span>This participation is not to be
had for the asking; it involves effort, the solution of problems as real as
those of actual life, and is as little to be solved by untutored spontaneity as
the problems of managing a corporation or practicing medicine.<span style="mso-spacerun: yes;"> </span>There is a far- reaching parallel between the
labor of the artist in acquiring his distinctive vision, and that of the
observer who succeeds in sharing it.”<span style="mso-spacerun: yes;"> </span>(<i style="mso-bidi-font-style: normal;">The Art of Henri Matisse, </i>p. 2)</span><br />
<br />
<span style="mso-bidi-font-size: 12.0pt;">If I have succeeded in sharing it, it is because I had excellent teachers who taught me how to do this work. The work itself, hard as it is, forces me to make connections--like the ones I made between my picture and Gauguin's. The delight I feel when this happens is delicious. </span></div>
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<br /></div>
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<span style="mso-bidi-font-size: 12.0pt;">This Thanksgiving, I
am thankful, dear readers, for you.<span style="mso-spacerun: yes;"> </span>When
I started writing these posts, I thought my daughter would be my only
reader.<span style="mso-spacerun: yes;"> </span>Now about 150 of you read each post,
many of you comment either in emails or on the blog, and others tell me they
enjoy them and learn a lot by reading them.<span style="mso-spacerun: yes;"> </span>That
is what keeps me going.</span></div>
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<br /></div>
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<br /></div>
Marilyn Baumanhttp://www.blogger.com/profile/09221864675491721708noreply@blogger.com3