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Archive for August, 2020

PinesLake1

If the concept of negative space eludes you or you don’t quite see what the big deal about it is, consider this painting.  Notice how the lake pushes against the pine trees.  I don’t mean the actual lake, of course.  I mean the surface on the painting that represents the lake.

Notice how this technique flattens the 3-dimensional landscape into a 2-dimensional surface.  That sounds so banal, doesn’t it, and the word “flatten” sounds so blah.

But the visual thrill of this technique is undeniable.  Even after you have it figured out, your mind loves playing this game:  now it’s foreground, now it’s background.

PinesLake2

Fairfield Porter (1907-1975) excelled at this.  I’m grateful to him for making the modern way of seeing so accessible.

Why am I bringing up Fairfield Porter now?  Because of a bit of junk mail.  When I got the L.L.Bean catalog in the mail yesterday, I immediately thought of Porter.  At first glance I thought L.L.Bean, an East coast company,  was using one of his paintings on their cover. Was this a passage from a Fairfield Porter landscape?

LLBeanCatalog

Porter was born in Winnetka, Illinois.  He moved to the East coast to attend Harvard, then stayed and became a celebrated East coast painter. His influence in this painting on the catalog cover is undeniable.

Could the artist be from the East coast?  I looked for the fine print on the inside cover.  Yes.  The artist is Anne Ireland and the L.L.Bean cover painting, inspired by the Maine coast, is titled “Changing Weather.”

Moral of the story: 1) see if you can switch negative space to positive and 2) notice how interesting your junk mail is.

 

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night-windows.jpg!Large

You won’t learn anything about existentialism in this post, existentialism being the de rigueur ism to bring up when you need to sound smart in a conversation about modern art.

Instead of being smart, let’s play a game.  Let’s imagine you stumbled upon an exhibit at, say, the Indianapolis Museum of Art, where the paintings of Lionel Feininger (1871-1956) and Edward Hopper (1882-1967) were shown side by side. (That’s a game good museums actually like to play, which is what makes them so exiting to go to.  At the Art Institute of Chicago, for example, paintings are moved around frequently so that you can see a familiar painting next to new neighbors and therefore gain new insights without anyone lecturing you about anything.)

GaberndorfII1924

Feininger was a prolific artist, who early in his career worked figuratively, even as a caricaturist and cartoonist,  and later tended to work with linear forms in his compositions.  In the 1920’s, when Hopper was visiting Europe, Feininger was teaching at the Bauhaus, first in Weimar and then in Dessau.  There’s no chance that they met, given Hopper’s disinterest in modern art.

No matter.  They were contemporaries, working with architectural forms in their paintings. It’s only fair to put them side by side.

The first thing you notice is the figure in the Hopper painting.  Now try to imagine the painting without the figure.

night-windowsCOPY

It doesn’t hold your attention, does it?

Look at some Feininger compositions.  Do they need a human figure to grab you?  No. These compositions are engaging and absorbing as they are.

Gelmeroda

Hopper seems to be primarily interested in geometrical patterns, but because what he comes up with is flat, hard-edged and obvious, he adds a figure to focus your attention.  The figure inevitably looks isolated and alienated, which makes for a facile match with existentialist jargon.

new-york-office copy

new-york-office

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Nighthawks1942

Film noir is defined as “a style or genre of cinematographic film marked by a mood of pessimism, fatalism, and menace.”

The central characters in film noir are often gangsters, detectives and a femme fatale.

Hopper’s paintings are also characterized by “a mood of pessimism, fatalism, and menace.”

Nighthawks, 1942, is his most famous painting.  (The Art Institute of Chicago snatched it up as soon as its paint was dry and it is, along with Grant Wood’s American Gothic, one of the reasons people go to the AI.)

It’s not a Norman Rockwell family scene, is it?  Two guys in fedoras and a skinny redhead in a red dress, smokin’ and drinkin’ coffee way past midnight.  What kind of characters are these?  A gangster, a gum shoe and a dame?  Sounds about right to me.

Film noir drew them in from the late 20’ to the 50’s.  The look of the genre became stylized and predictable. When any art is worked out according to a formula, it can only crank out material for so long before it invites satire and parody.

As does Hopper:

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af5fc1753f3fbc93455b99282aa6bbbf--edward-hopper-funny-art

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Ten years after Nighthawk, Edward Hopper was still working with his wooden, predictable formula.  Here’s Morning Sun from 1952 and a parody I gleaned from the internet.

MorningSun195285732094539607.5e81bc9d26d57

https://en.wikipedia.org/wiki/Film_noir

 

https://www.google.com/search?sa=X&sxsrf=ALeKk00bTzmOgQZ5Yx88JNsnDKd–FkCjQ:1598208829948&q=Nighthawks+(painting)&stick=H4sIAAAAAAAAAONgFuLQz9U3yEg2LlHiBLHMDHPNM7SUspOt9Msyi0sTc-ITi0qQmJnFJVbl-UXZxY8YY7kFXv64JywVMmnNyWuMflxEaBJS4WJzzSvJLKkUkuLikYLbrcEgxcUF51kxaTDxLGIV9ctMzyjJSCzPLlbQKEjMBOrLS9cEABz2VzCzAAAA&npsic=0&tbs=kac:1,kac_so:0&ved=2ahUKEwj_xNfs_7HrAhWWLs0KHcusC0AQ-BYwJHoECB8QLg

 

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In the 1920’s Edward Hopper was working part time as an illustrator for the Hotel Management industry. He hated the job since he thought of himself as a fine artist, but he needed the money. To get away from the illustrator’s grind he traveled to Europe three times in that decade.

A generation of writers and artists woke up after the horrible butchery of the “Great War” to realize that the old war-honoring culture of their forefathers had to be thrown out, the whole corseted, velvety, tasseled, lacy, medallioned, epauletted, pious-pompous  thing.   The new generation invented new ways of seeing and thinking.

During his trips to Europe Hopper stayed mainly in Paris. Ah, Paris in the 20’s!  The city was buzzing with Cubism and Surrealism.  Recently starving artists were now being shown in major galleries:  Picasso, Modigliani, Gris, Leger and Brancusi, to name a few.  When you went out for coffee you might spot James Joyce, André Breton or Hemingway at the next table.  So much to see and learn!

Edward Hopper wanted none of it.  His indifference to new ideas was so thorough that, as he later recalled, he hadn’t even heard of Picasso then.

What about the roar of the roaring 20’s. Would he have buttoned his spats and stepped out one night to catch Josephine Baker showing off her knees in the Charleston? Unlikely.

JosephineBaker

But we know he took the train to Amsterdam where he admired Rembrandt’s paintings.

Did he ever hop a train to, say, Berlin to visit museums and galleries there?  He might have been interested in German museums.  But galleries in wild, experimental Berlin showing modern art?

No chance of that.  But let’s imagine he did. Next.

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  HopperDrawing2

The Indianapolis Museum of Art (“Newfields’) reopened on July 17th with an exhibit about Edward Hopper.

I am glad the curators included some of his drawings because they present the most lively work in this show.

The above drawing is dated in the 1950’s.  It may have been a study for the painting “People in the Sun,” 1960.

What fascinates me is that the drawing is lively and energetic, while the painting is, well, dead.

Hopper’s mind as he contemplated a man in a lawn chair looking over a desolate landscape was nevertheless agitated. We don’t know by what–memories or necessary imminent decisions or shocking insights.  It’s an agitated drawing scribbled out in a frenzy of concentration, took maybe all of five minutes.

But the painting looks like sheer drudgery, as if he just wanted to get it done and be finished with it.

Sunning

If the artist intended to satirize the alienation of modern life,  he failed.  I think, the image fails as satire because it lacks wit.

We instantly recognize it as a Hopper because human forms are part of the geometry of the composition.

Let that be my introduction to Edward Hopper at the IMA.  You can tell that I have issues with this show and with the interpretation of this artist.

So far we have some key concepts: agitation, alienation, drudgery, modern life, geometry, human form,  satire and wit.

Stay tuned.

 

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JewishBoyCleveland

The mystery and fragility of this head is shocking.

When you’re strolling through a museum and you come upon a Medardo Rosso sculpture of a child’s head, you will be shocked and breathless.  In your instinctive protectiveness you may throw your jacket over the display case and shoo everybody away.

The vulnerability of the child–not just this child, but every child—is made all the more immediate by the fact that the head is made of wax, more precisely,  plaster covered with molten wax.  What could be more fragile. The child is malleable, quite tangibly soft and ephemeral.

Some of his heads of children are cast in bronze.  Even then, the child is fragile and profoundly mysterious.

Child1

 

Medardo Rosso (1858-1928) was an Italian sculptor who lived in Paris where he befriended August Rodin (1840-1917).

Rosso never attained the recognition that Rodin did. Not surprising, since Rodin gave the Belle Epoque Parisians heroically tormented males and reproductively receptive females.

PenseurKiss

In front of a Rodin, I reflect on what it was like to believe in heroes.

In the presence of a Medardo Rosso, I feel.

All contents copyright (C) 2010 Katherine Hilden. All rights reserved.

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