Thomas Eakins: Realism - 135 Realist Paintings - Gallery Series
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Interestingly, both Remington and Russell were from the East, but Russell left New Jersey at age 16 in never to return, whereas Remington left Yale for Montana at age 20 in , but traveled back-and-forth from the West to New York for his marriage and career. Following in the artistic footsteps of George Catlin, George Caleb Bingham and Alfred Miller, Remington and Russell benefited from traditional exhibitions in salons and galleries, and from the glorious new era of book, magazine and newspaper publishing.
In the s, Russell actually spent a great deal of time in Southern California and became a close friend of many Hollywood producers, directors and actors, including John Ford, Will Rogers and Harry Carey Sr. It can only be speculated what Remington would have created as an artist if he had lived longer he was only 48 when he died of complications from appendicitis , but his legacy can be seen at museums and galleries across the United States, as well as in Western film and television. Western artists strongly influenced film directors and their production designers, from the earliest silent horse-operas to the most recent big-budget Western films and television series.
In fact, studios and producers have hired hundreds of artists as storyboard illustrators to conceptualize the look of a production. If you tour the Autry National Center in Los Angeles, you will quickly realize the great impact of Remington and Russell on our imagined memory of the West.
Two films, Monte Walsh and El Dorado , actually used the classic Western art of Remington, Russell and Olaf Wieghorst, respectively, in their opening credits—an homage to the roots of the genre. In honor of the masters of Western art, Charles Russell and Frederic Remington, who nearly years ago traveled West in search of their destinies, True West celebrates two centuries of Western historical art by featuring a retrospective of works by the two masters and a portfolio of works by artists who also have created and inspired our real and imagined history of the American West.
Lander in His portfolio of Plains Indian art is comparable to the early masters of Western art, and includes his oil titled War Chief. This series was actually commissioned by the United States Government for use in a promotional campaign for the sale of U. Four Freedoms consists of four panels: Freedom of Speech a man rising to speak out at a town meeting , Freedom of Worship a mass of people praying side by side , Freedom from Want a family sitting down to a turkey dinner and Freedom from Fear two parents tucking their children into bed.
The last two freedoms are nowhere mentioned in the American Constitution, though it is easy to imagine them as implied. Doing Justice to Reality. Indeed, he once proclaimed it "ridiculous to be self-consciously Canadian or to make self-conscious attempts to produce a Canadian art … one wants to be good" Dow Commenting on this pronouncement, Hellen Dow points out:.
The indigenous painting which first endowed Canadian art with self-confidence and direction was the landscape work of the Toronto men who are known as the Group of Seven. Apart from his overwhelming concern for natural environment, however, Colville has nothing in common with these painters. Indeed, beyond the Post-Impressionism of his teacher, Stanley Royle, who was a product of English Schools, [Colville] has no stylistic heritage in Canada at all. In truth, his most significant teacher has been nature itself Dow Contrary to Dow, Colville himself defines his creative impulse with a phrase borrowed from Joseph Conrad: "I try to do the highest possible justice to reality" de Santana Consider the painting Couple on Beach figure 2.
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In this painting, a woman lies on the sand with a sun hat covering her face, a man crouches in front of her looking out to sea. Significantly, the figures cast no shadows, and their contours are perfectly delimited. If the woman were "really" lying on the beach, the sand would have obscured part of her figure. But it does not. She is wholly self-contained. So is the man: his feet rest on but do not touch the ground.
In this attempt to "do justice to reality," why has Colville eliminated anything shadows, sand which might confuse or blur the boundaries of these figures? Perhaps this is because he thinks of justice as "a system of provinces, co-existing side by side, with clearly marked boundaries"; for any element in this system to encroach upon another would be an injustice — each must keep within bounds Cornford 71, The mood or atmosphere of Couple on Beach is best described as one of double solitude.
The unity of the couple is a "unity of you and I". The man and woman are together, but apart, their attention turned in different directions. In June Noon, a woman undresses inside a tent; a man with binoculars stands outside scanning the horizon. In January, a woman on snowshoes turns in the direction of the horizon; a man wearing sunglasses faces the spectator. Colville has said: "I am inclined to think that people can only be close when there is some kind of separateness.
Furthermore, whatever human figures there are in them tend to stand in juxtaposition to each other, but do not touch. In a pair of illustrations advertising life insurance, Planning the Home and First of the Month, Rockwell has a young couple snuggling up to each other in a comfy chair while going over some architectural blueprints and calculating how to pay the bills respectively.
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As Christopher Finch 98 observes, these situations are depicted in "good humored but slightly idealized terms … [idealized] in the sense that these paintings tend to show man and wife thinking as one person. It is the indivisible unity of the couples Rockwell depicts that constitute their most endearing quality.piwik.ski-oberhaching.de/131-generisch-zithromax.php
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Even when spouses appear to have quarrelled, as in The Debate, where a husband and wife sit back to back and it appears from the papers they are holding that they support rival political candidates, the most significant fact is that their heads are already inclining in the same direction, which suggests they will soon see eye-to-eye again. Consider Swimmer, for example, in which a lone swimmer is three-quarters immersed in a dark expanse of ocean.
As Colville has said of The Skater, which depicts a person skating in a "bleak" world of ice and rock, this painting "is about controlled but relaxed conscious movement in a kind of elemental, void-like aspect of nature — a kind of environment which I think many people find frightening. However, the Skater is not frightened" Cited by Dow Humans and landscapes or animals often mirror each other in his paintings, in terms of their side-by-side positioning, their similar textures and forms, and the equal respect the artist accords them.
In Cyclist and Crow the lowered head of the cyclist reflects the lowered head of the crow as they both "fly" along separate but parallel paths. The equal importance of natural and human elements in a painting is indicated by Colville through titles such as Family and Rainstorm , Cyclist and Crow, Dog and Priest, in which the two main subjects of the painting are juxtaposed but not subordinated to one another. Contemplation and Angst. It is good to contemplate, according to Colville, a disposition he shares with George Grant.
As will be recalled, Grant believed that: "Human beings are fitted to live well together in communities and to try to think openly about the nature of the whole" Grant Colville is constantly encouraging his viewers to contemplate the whole. In Visitors are Invited to Register, where a man contemplates — or "registers" — the interior of a church; in the self-portrait Target Pistol and Man the artist locks eyes with the spectator, a target pistol lies on the table in the foreground.
Some viewers perceive the latter picture as menacing or sinister, but this is because they are not contemplating it adequately. Consider Pacific, for example: a man, shirtless, with his back turned to the spectator, leans against the doorframe of a house overlooking the sea; in the foreground a pistol lies on a table that is also incised with a yardstick or ruler of the kind used for measuring cloth.
According to Tuzi 8 : "It is the gun and virility, implied menace and violence, couched in a flawless aesthetic order that rule the painting. The ruler stands for measurement and balances the gun. Similarly, the infinity of the ocean balances the virility or latent aggressivity of the man. The title of the painting, "Pacific," further implies that the image is after all one of peacefulness — albeit a controled peacefulness. Together, all the elements suggest an image of society in which the threat of violence is controlled by the imposition of a "peaceful" order.
The meaning of a Colville painting is always in the balance. In this painting, a horse gallops down a railway track in the falling dark, a train approaches from the opposite direction. As David Burnett 96 suggests: "The images jolt us by their unexpected juxtaposition and angles, and they contain the apprehension of disaster. What would have appealed to Colville about this poem is its diathetical structure: it advances two theses at once genius and regiment, horse and train , without attempting to reconcile them, or subordinate one to the other.
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Horse and Train is open to a variety of interpretations. Hellen Dow reads it as being about the opposition between nature and machine, or the opposition between the unconventinal artist and conformist society. However, to ask: "Which will conquer, nature or machine, creation or destruction, Providence or chance? To think in terms of conquest, or "winning", is to think synthetically instead of diathetically, to posit a "unity of we" involving the negation of the other as other as the end of history instead of a "unity of you and I.
By contrast, there is always something happening in a Rockwell painting. In No Swimming, for example, three half-dressed boys and a dog are shown dashing past a "No Swimming" sign. The viewer can tell that the outraged owner of the waterhole is in hot pursuit of the trespassers, even though he is not in the picture itself. As Meyer 24 notes, Rockwell was always on the look-out for situations that would make the spectator "want to sigh and smile at the same time". This surplus of emotions was further augmented by the "extra attention" Rockwell gave to the faces of those he drew Buechner Furthermore, when Colville does paint faces, they tend to be expressionless.
Another major difference has to do with the representation of space. As Buechner has noted, "in spite of outer space, [Rockwell] likes his backgrounds close in," hence the preponderance of interiors in his paintings. As Finch 25 suggests: "It is almost as if the incidents that he illustrated … took place in shallow boxes.
A painting can either accommodate itself to the viewpoint of a spectator who is imagined to be standing in front of it, or it can seek to reposition the viewer. For example, in Couple on Beach the viewer is positioned in the same crouched position as the man rather than looking down on the man and woman as the standard spectator would ; in Main Street the viewer is positioned at car-seat level; and in Embarkation the viewer experiences vertigo as a result of being forced to peer over the head of the male subject into the unfolding scene below.
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The scene in Embarkation is one involving a man sitting on the edge of a wharf watching a woman climb down a ladder to a motorboat moored below. By placing us in the position of someone standing near the edge of the wharf and looking straight down between the man and the woman, [Colville] plunges us directly into the centre of the scene. The variation Colville introduces into the positioning of the viewer from one painting to the next is indicative of the preoccupation with perspectivalism which is characteristic of the Canadian imaginary.
This trait may be interpreted as as linked to the holism or anti-perspectivalism of the American imaginary. This trait may be taken to imply that knowledge is not distributed evenly, that knowledge is both heterogeneous and tied to position. In addition to giving expression to the theme of perspectivalism, these images bring out the importance of mirror images and reflections in the Canadian imaginary. These auto-portraits are not self-portraits in a traditional sense, however, for Colville creates an imaginary parallel life for his pictorial double, in which he is a blind man being guided by a dog Night walk , or a nude drinking milk in a dark kitchen Refrigerator.
These duplications of himself provide Colville, rather, with a series of alter egos through which he can further explore the relationship between "one" and "other". Rights Consciousness. This new rights consciousness is reflected in The Problem We All Live With : a little black girl marches to school surrounded by four U. This painting is about the "problem of integration", of achieving a veritably "perfect Union. This painting is about the democratization or popularization of wisdom.