Wyeth, Andrew - Realismo Contemporâneo
Winter Farm Scene, nd
Watercolor on paper
22 3/4 x 30 7/8 inches (57.8 x 78.7 cm)
Private collection
Tomorrow The Outer Shoals, nd
Tempera on panel
22 x 37 7/8 inches (55.9 x 96.5 cm)
Private collection
Brandywine Valley, 1940
Watercolor on wove paper
55.6 x 76.3 cm
The National Gallery of Art, Washington D.C.
Turkey Pond, 1944
Tempera on panel
Farnsworth Art Museum
Winter 1946, 1946
Tempera on composition board
31 3/8 x 48 in. (79.7 x 121.9 cm)
North Carolina Museum of Art
Dodges Ridge, 1947
Egg tempera on fiberboard
41 1/8 x 48 1/8 inches (104.5 x 122.3 cm)
Smithsonian American Art Museum, Washington D.C.
Christina' World, 1948
Tempera on gessoed panel
32 1/4 x 47 3/4" (81.9 x 121.3 cm)
The Museum of Modern Art, New York
Wind from the Sea, 1948
Tempera on panel
19 x 28 in
Private collection
November First, 1950
Watercolor on paper mounted on paperboard
21 5/8 x 29 5/8 inches (55.2 x 75.4 cm)
Smithsonian American Art Museum, Washington D.C.
Roaring Reef, ca. 1951
Watercolor on paper mounted on paper
21 7/8 x 28 1/2 in. (55.5 x 72.4 cm)
Smithsonian American Art Museum, Washington D.C.
Trodden Weed, 1951
Tempera on panel
Private collection
Snow Flurries, 1953
Tempera on panel
94.5 x 122 cm (37 1/4 x 48 in.)
The National Gallery of Art, Washington D.C.
Corner of the Woods, 1954
Egg tempera on Masonite
98.42 x 79.06 cm (38 3/4 x 31 1/8 in.)
Museum of Fine Arts, Boston
Hawk Mountain, 1961
Watercolor over graphite
54.7 x 75.9 cm (21 1/2 x 29 15/16 in.)
The National Gallery of Art, Washington D.C.
Christina's Teapot, 1968
Watercolor
22 3/4 x 28 3/4 in
The Holly and Arthur Magill Collection
In the orchard, 1973
Watercolor. 23 5/8" x 18"
Private Collection
Knapsack, 1977
Waterclor on paper
Braids, 1979
Tempera
16 1/2" x 20 1/2"
Private Collection
White Dress, 1981
Watercolor on paper
Kuerner's Farm, 1983
Watercolor on Paper
21.5" x 30.5"
In the Doorway, 1984
Watercolor on paper
Field Hand, recto, 1985
Dry brush watercolor on wove paper
55.3 x 100.7 cm (21 3/4 x 39 5/8 in.)
The National Gallery of Art, Washington D.C.
Roof At Archie's, 1986
Watercolor on paper
Sunday Times, 1987
Watercolor on paper
Private collection
Man and the Moon, 1990
egg tempera paint on Renaissance panel (Pre-gessoed masonite)
30 1/8 x 48 inches
Kemper Museum of Contemporary Art, Kansas City, Missouri
Leaving, 1993,
Drybrush and watercolor
27 1/2"x19 5/8"
Blue Ice, 1994
Watercolor on paper
Tracks at Kuerners, 1995
Watercolor on paper
h: 19.2 x w: 27.5 in / h: 48.8 x w: 69.8 cm
Sharpshooter, 1997
Watercolor
19 1/2" x 27 3/4"
The Carry, 2003
Tempera on panel
Private collection.
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Em "Field Hand, recto, 1985", um trabalhador do campo encosta-se a um tronco de uma árvore no cimo de um monte, fazendo uma pausa no trabalho. A sua prótese, com a forma de um gancho, é o bizarro ponto focal desta obra. A solidão da existência do trabalhador, a sua batalha com a natureza e a sua vontade de sobreviver são reflectidas pelo símbolo forte do seu membro falso. Esta imagem altamente evocativa e sentimental, pintada com um realismo meticuloso, é típica da obra de Wyeth. Ao usar técnicas de pintura tradicionais, ele copnsegue uma imtemporalidade que associa as severas condições do trabalho no campo durante a era pioneira à vida rural contemporânea americana. Pequenas figuras, muitas vezes com alguma forma de incapacidade fisica ou mental, colocadas em grandes paisagens áridas são comuns na obra deste autor. Uma criança isolada, Wyeth foi educado por professores particulares e estudou arte com o seu pai, Newell Convers Wyeth, um famoso ilustrador. Nas suas obras nostálgicas, ele celebra a vida simples, livre das repressões da era tecnológica. Andrew Wyeth nasceu em Chads Ford, PA (EUA) em 1914.
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Andrew Wyeth was born July 12, 1917 in Chadds Ford, Pennsylvania. He was the youngest of five children. Andrew was a sickly child and so his mother and father made the decision to pull him out of school after he contracted whooping cough. His parents home-schooled him in every subject including art education. Newell Convers Wyeth (Andrew's father) was a well known illustrator whose art was featured in many magazines, calendars, posters and murals. He even painted maps for the National Geographic Society! Andrew had a vivid memory and fantastic imagination that led to a great fascination for art. His father recognized an obvious raw talent that had to be nurtured. While his father was teaching him the basics of traditional academic drawing Andrew began painting watercolour studies of the rocky coast and the sea in Port Clyde Maine. He worked primarily in watercolours and egg tempera and often used shades of brown and grey. He held his first one-man show of watercolours painted around the family's summer home at Port Clyde, Maine in 1937. It was a great success that would lead to plenty more. He married at the age of twenty-two to a local girl named Betsey James and had two boys, Nicholas who became an art dealer, and James who became the third generation artist in his family. Interestingly, although James' father was the most popular artist in his family history, he was greatly inspired by his grandfather's illustrations. He was featured on the cover of American Artist as well as many other famous magazines such as the Saturday Evening Post that displayed his painting "The Hunter." His first solo museum exhibition was presented in 1951 at the Farnsworth Art Museum. Since then he has seen many more successes and is considered one of the most "collectable" living artist's of our time.
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on Sexta-feira, Fevereiro 23, 2007 at 8:42 PM.
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7:38 PMMuito bom esse blogger, parabéns!
Continue o seu trabalho é muito bom mesmo.
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