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Grit and Revolution: The Ashcan School

6/14/2012

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George Bellows: Stag at Sharkey's 1909
Isn't it funny how so many art movements are named by snarky insults? The 'Impressionists', The 'Fauves', even the Gothic style - these were not terms of endearment but put-downs from critics who clearly thought they knew what was 'art' and what was not. 'The Ashcan School' is another example, this time from early 20th century America.

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Artists and Friends in John Sloan's NY studio 1898
In the context of a time when so much artistic fur was flying in Europe (Cubism, Surrealism, Picasso, Matisse, etc.) the work of the Ashcan School can seem a bit tame and stodgy, but these artists, like their European contemporaries, were revolutionaries, rebelling against conservative American tastes - which were at least, if not more, conservative than traditional tastes in Europe.

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Chicago Art Institute Students: Flyer 1913
In 1913 the famous Armory Show was mounted in New York, bringing the first taste of avant-garde art to the U.S. The Armory Show, an earthquake that shook expectations and assumptions to their foundations, was recognized as a colossal event but one that was shocking, even dangerous. The New York Tribune called it “A Remarkable Affair Despite Some Freakish Absurdities.” It is said that notices were posted warning pregnant women away for fear they would miscarry, and when the show moved to Chicago, Matisse was given a mock trial on charges of 'artistic murder, pictorial arson, artistic rapine, total degeneracy of color, criminal misuse of line,' found guilty, and sentenced to die.

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George Luks: Nighttime Buying and Selling on Allen Street 1905
Organized by American painters eager to bring the excitement of Modern Art closer to home, the Armory show included a healthy number of forward-looking Americans, foremost among them the artists who would come to be known as The Ashcan School. A first American volley against the strict traditions of the National Academy was the 1908 show in New York by The Eight, a group of painters circled around the charismatic teacher/painter Robert Henri. It was their only group showing - the circle then expanded, with one result being the group that came to be known as The Ashcan School.

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George Bellows: Cliff Dwellers 1913
As you might guess by the name, these painters, including Henri, George Bellows, John Sloan, George Luks and Everett Shinn, concerned themselves not with idealized beauty, but with a realistic perspective on the gritty life of New York's poorer neighborhoods and rich colorful streets.

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John Sloan: McSorley's Bar 1912
Many of them had backgrounds as newspaper illustrators so there is an element of reportage in the work of the Ashcan School, along with an acceptance, even celebration of human nature in its most banal and ordinary forms. There's more than a bit of Bruegel in the Ashcan School, coupled with the lush expressive brushwork of Frans Hals and Velasquez - no accident. These painters were sophisticated and knowledgeable and most had spent time traveling and studying in Europe. Notable works include Bellow's mighty Stag at Sharkey's (1909) his marvelously detailed Cliff Dwellers (1913), George Luks's Nighttime Buying and Selling on Allen Street (1905), George Bellow's Washington Square South (1910) and John Sloan's McSorley's Bar (1912.)

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William Glackens: Washington Square South 1910
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John Sloan: Sunday, Women drying their Hair 1912
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Robert Henri: Dutch Girl in White 1907
Robert Henri, for being such an inspiration to these painters of lively genre scenes, is better known for portraits - he's a marvelous painter whose brushwork and handling of paint is simply delicious. He did quite a few portraits of children, especially on his travels. This lovely example is from a stay in Holland in 1907.

The National Gallery in Washington has just opened a show of the work of George Bellows - I hear it's wonderful and can't wait to see it! http://www.nga.gov/exhibitions/bellowsinfo.shtm

The newly re-opened Barnes Collection in Philadelphia includes many works of William Glackens and examples from some of the other Ashcan painters.
http://www.barnesfoundation.org/collections/art-collection/collection-search



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Chess: History, Charm, The Lewis Chessman

11/3/2011

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'Berserker' soldier from the Lewis Chessmen
My favorite little men are coming to New York - The Game of Kings: Medieval Ivory Chessmen from the Isle of Lewis opens at the Cloisters on November 15. Bug-eyed Kings dismayed at the prospect of close and bloody combat, Queens holding worried faces, Soldiers so eager to begin that they bite their shields in anticipation, Bishops gripping their croziers, Horsemen hunched and ready: these little ivory creatures give us a world that faded long ago, though their iconic battle persists and endures in the game of chess.

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KIng from the Lewis Chessmen
It is a fact that these delicate but vigorously carved ivory creatures were found in 1831 on the Scottish Isle of Lewis. It's agreed that they date from around the 11th century (partly attested by the style of the Bishop's miter) but beyond that almost all is speculation. Are they Icelandic, or Norwegian, for whom were they created, by whom were they used? The pieces have so much personality; it's frustrating that they can't tell more of their story.

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Krishna and Radha playing Chaturanga
The game of chess predates these 'men', which are likely pieces from four sets - some are now in the National Museum of Scotland and some in the British Museum (which lent theirs for the show.) Chess began sometime around 600 in northern India or Afghanistan - the vocabulary of chess and the basic forms and rules come directly from those origins. Here  Krishna and his consort Radha play Chaturanga, the precursor to chess.

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Back detail of a Queen from the Lewis Chessmen
Chess became very popular in aristocratic Europe during the 11th century - the quality of the Lewis Chess Set identifies the owners, whoever they were, as being of wealthy and privileged rank. Even the backs are carved, in the intricate woven patterns consistent with the time and place. Norse mythology is written in these pieces, particularly in the 'Berserkers' - those avid soldiers - Berserkers in the sagas were soldiers so frenzied by battle that they fought in a trance.

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Knights from the Lewis Chessmen
The pieces are small, but larger than the ordinary chess 'men' of today's game - it is said that the board needed for a full game would have measured about 3 feet across - and that the board may have been red and white rather than black and white. Either color opposition makes symbolic sense: archetypal opposition can be seen as dark vs light, or as blood/passion red vs purity/innocence.

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Bishop from the Lewis Chessmen
A drafty battle tent, a lofty hall in a great stone castle, a blustery cold wind flapping and wuthering, the light from a fire flickering over battle-worn hands, faces creased as they ponder their moves and shift these woeful, charming little creatures - the Lewis Chessmen tell us silently that they were there, even if they can't tell us exactly where.

Click these links to learn more about the exhibit and the Lewis Chessmen
http://www.nms.ac.uk/our_museums/national_museum/lewis_chessmen_unmasked/meet_the_chessmen.aspx

http://www.metmuseum.org/exhibitions/listings/2011/the-game-of-kings-medieval-ivory-chessmen-from-the-isle-of-lewis

Are You A Chess Player? Is it just a game for you or an iconic battle of life and death?



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Goya - The New, The Old, The Always Fascinating

9/28/2011

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Goya has always been hard to pin down. The discovery of a 'new' portrait, albeit hidden under an existing one, just adds to the complex story of this fascinating artist. Who is among the most modern of 'old masters'? Goya. Who made his living painting fawning portraits of powerful court patrons? Goya. Who is one of the most subversive of all painters? Goya. Who was one of the first realist painters? Goya. Who painted the darkest, most terrifying images in all of art? Goya. And did I mention that he had 24 children? 

The new painting, an unfinished formal portrait of a man wearing the important bling of a Napoleonic officer (it may even be Joseph Bonaparte, appointed King of Spain by his brother the Emperor) was discovered with the fresh out of the box Scanning Macro X-ray Fluorescence Spectrometry, a technology developed in the Netherlands and Belgium. This is a technique that "fires high-energy x-rays at the painting, which energizes the atoms causing them to release their own x-rays. By observing and analyzing this information, researchers are able to develop a color map of what lies beneath the top layer of paint. The result shows remarkable detail about what was originally on the canvas."(thanks to Geekosystem.com)
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The portrait on top - the only one that counts for most of us - is one of Goya's masterpieces and the only painting by Goya in the Netherlands (at the Rijksmuseum.) It is a beauty - the subject is Judge Don Ramón Satué, a man in whose face intelligence, skepticism, compassion, and confidence all jockey for position. His hair is fashionably feathered forward, his black velvet costume, accented with white ruffles and red sash, is stylishly comfortable - no formal robes for this judge. It was painted in 1823, ten years after the French were driven out of Spain. It seems probable that Goya was commissioned to paint the underlying portrait during the French occupation; one speculation about the reuse of the canvas is that he needed to get rid of any evidence of collaboration once Ferdinand VII was restored to the Spanish throne.

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It's unlikely that Goya would have cooperated willingly with Napoleonic forces. His powerful The Third of May from 1808 is an eyewitness account of injustice; it screams out Goya's protest against the inhumanity of that occupation with his pitting of an innocent man - clearly marked as a symbol of all innocence by his bright white shirt and crucifix pose - against the faceless brutality of a uniformed firing squad. 


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Goya lived at one of the cruelest and most crucial cusps of history, a time when old tyrannies were exploding in revolutions. Harsh, inhumane oppressions in response, did little to stem the tide of inevitable progress towards equality and democracy, but led to wide-spread misery for many innocent people. Goya witnessed all of this - in his work we find the cycle of history. The golden, sunlit days of court life edge into clear-eyed observations and documents of the wealthy and powerful, perhaps with a touch of muffled but barbed criticism, as in his celebrated portrait, The Family of Carlos IV.

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The march of his witness continues - he spares no detail about the unspeakable horrors of war with his incredible series of etchings, The Disasters of War. We then watch him descend into a personal world of darkness, losing his hearing, going into exile in Bordeaux, and creating the searing, unspeakable Black Paintings and Horrors. 

Click the link below for an interactive look at the new and old Goya portraits (Thanks to The Guardian UK)
http://www.guardian.co.uk/artanddesign/interactive/2011/sep/20/goya-painting-satue-rijksmuseum-interactive?intcmp=239

 



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