Chase vs Sargent

 

A wonderful corner of the Metropolitan Museum of Art.

 
Recently, I was able to visit the Metropolitan Museum of Art in New York City.  If you haven't yet seen the new American wing, you really need to make the trip.  It's well worth the effort.  While there, I took a moment to sit in front of two favorite artists' works that happened to be displayed side by side - William Merritt Chase's Lady in Black and John Singer Sargent's famous Madame Gautreau.  


As they are hung right next to each other it's hard not to make comparisons.  Even the wall placard notes how Chase's composition seems to quote Sargent's, perhaps especially with the placement of the table.  I sat there for quite sometime doing a thumbnail sketch of the beautiful Lady In Black.  As I drew, I found more and more points of comparison.  Now, it is not my intention to upset any Sargent fans. I am indeed quite a fan myself - but I have to say in my humble opinion, the Chase painting is the more interesting portrait.  Madame X has become such an icon for artists in realist art circles, so perhaps my favoring Chase's work has more to do with my propensity to root for the seeming underdog?  I'm not sure, but I will try to remain as objective as possible.

 

John Singer Sargent, Madame Gautreau (aka Madame X), oil on canvas, 82 1/8 x 43 1/4 in, 1883-84

Sargent's painting of Madame X,  with her pinched waist, evening attire and averted gaze, doesn't allow us to witness her full personality.  We surely understand her status in life, but beyond that not much else is offered.  (I must note that as a figurative artist I totally understand his choice in painting her head turned to the side.  Who wouldn't want to paint that stunning profile?!  This perhaps accounts for the averted gaze).  We instead are shown the pomp and circumstance of an elite's commissioned portrait.  Even Mme X's feet are softly absorbed into shadow, further obscuring personal identity.  Because of this, I find the Chase work a more honest and to my contemporary taste, a more appealing depiction.  In Lady in Black we are presented with a woman (Ms. Marietta Benedict Cotton) who is more humble in her attire and confronting with her gaze.  She stands solidly grounded with one foot in light.  There is little apprehension or coyness to her gaze.  Though her gown is surely not today's casual, it does seem more reserved or down to earth.  Even the polish of her skin is not overly smooth, soft or pasty as Mme. X's seems.  The paint itself has more action, more color, and is overall more interesting.

 

William Merritt Chase, Lady in Black, oil on canvas, 74 1/4 x 36 5/16 in, 1888

Perhaps, the Chase work resonates because it is more approachable, more easily accessible, depicting a class that I am closer to understanding.  Or perhaps its more that I enjoy seeing a portrait that shows more of the character of an individual, not just the surface characteristics.  My husband argues that because of the averted gaze, the Mme. X painting is more enigmatic, is more open to being read as story.  While the first one reads as an honest depiction of an individual.  His point is well taken here.  I understand neither is wrong or makes for lesser of a painting.

Placed together, these two paintings evoke much thought and emotion. I look forward to returning to visit these two wonderful paintings again soon.  Let me know what you think?  Do you favor one more than another?

 

Here's the little sketch I did with a few random notes that I jotted down as well:

-note that there are more reds in the flesh of "Lady" 

-note the balance of edges up and down the figure:

left shoulder has soft edge - right shoulder hard

left sleeve hard edge - right sleeve soft

-note that the perspective of the table is off, but less awkward than the table leg meeting up with the corner of the composition in the Mme. X painting. 

Thanks for having a read.

Workshop - Natural Object Still Life Painting

Nest, oil on panel, 8" x 8"

Natural Object Still Life Painting Workshop

at Townsend Atelier

June 8, 9, 10th 2012

9-5pm

$350

with Special Demonstration & Gallery Talk at  

The Hunter Museum of American Art 

Thursday June 7th 5-8pm

I am so stoked to be headed to lovely Chattanooga, TN in June to teach a wonderful painting workshop.  I hope you will be able to join me.  I also have the great honor of being invited to give a demonstration at the Hunter Museum of American Art.  If you can't make the whole workshop, I hope you will at least be able to enjoy the evening demonstration and gallery talk.  Here is the official description and a few links.  Please contact the lovely, helpful folks at Townsend Atelier if you want to sign up or need help finding accommodations. 

This course will cover the essentials of oil painting from proper surface preparation to color mixing, with a primarily earth tone palette.  Using direct observation, students will learn about composition, color theory and paint application as well as gain skills and confidence in representing what they see.   Students will be encouraged to select their own items that will enable them to develop personal narratives or meanings within a still life painting.  This three day oil painting class will start with an optional walk to experience and connect with nature, as well as to collect the natural found objects that the student will bring back to the studio to paint.   Students who choose to skip the morning walk will be encouraged to bring their own natural form discoveries such as various botanical items, seed pods, skulls, feathers, bugs – whatever it is from nature that you are inspired by!  The teacher will also bring such items from her own collection to share.

Townsend Atelier

201 West Main Street Suite 107
Chattanooga, TN

423-266-2712
or toll free: 1-877-903-1488
www.townsendatelier.com

info@townsendatelier.com

The Hunter Museum of American Art

10 Bluff View

Chattanooga, TN 37403 

(423) 267-0968

www.huntermuseum.org

Four Paintings at GMA

Here are the four paintings of mine that are included in the Greenville Museum of Art's exhibition mentioned in the post below.  I really enjoyed speaking with the curator as to why she chose these particular paintings.  She explained that "these pieces really give a good view of women in self-reflection through out different ages.

Becoming, oil on panel, 24" x 24"

Mother Reading, oil on panel, 20" x 16"

 

Kitchen Window, oil on panel, 48"x 36"

Paige at Mirror, oil on panel, 36" x 24"

Thank you to all who came out for the opening reception!

Greenville Museum of Art

Last night was the Opening Reception for the Greenville Museum of Art's exhibition titled A Woman's Place: Exploring the Female Identity.  Sculptures, paintings, drawings, mezzotints and fabric works of seven artists are included in this show.  A beautiful, full color catalog is available by contacting the museum.  I am honored to be showing in this historic North Carolina art museum.  Thank you to Director Charlotte Fitz and the wonderful staff of the Greenville Museum of Art for all your hard work.  Also, a huge thank you to the sponsors who made the catalog possible.  The seven artists included in the exhibition are: (links included for those I could find)

Valerie Jean Bailey

Alia El-Bermani

Jill Eberle

Kiki Farish

Holly Fischer

Amy Freeman

Dazzala Knight

on the far wall left to right works by: Jill Eberel, Valerie Jean Bailey, Alia El-Bermani, and Kiki Farish
sculptures by: Holly Fischer

 sculpture by Holly Fischer; paintings by Amy Freeman

A Woman's Place : Exploring the Female Identity

January 28 - March 20, 2011

Greenville Musuem of Art 

802  S. Evans St

Greenville, NC 27834

252-758-1946

Birth of Impressionism at the Frist

William Bougureau's Birth of Venus, oil on canvas, 120" x 86", 1879.

This past long holiday weekend, the family and I made our way to Nashville, TN to see the beautiful exhibition at the Frist Center for the Visual Arts called Birth of Impressionism.  This exhibition displays 100 paintings from the mid to late 19th century which are from the collection of the Musee d'Orsay.  In comparing the contemporaneous academic and realist paintings of that time period to the paintings of the avant garde, this show seeks to show the evolution of Impressionism as a reaction against the Salon.  

In walking thru this exhibit I kept finding myself drawn more to the examples of academic realism, the accepted Salon paintings or the earliest examples of Impressionism.  I found myself rushing through the last two rooms of typical Impressionistic landscapes, trying to avoid looking too long at what my daughter brilliantly described as "scribble, scrabble".  I've included some images of some of my favorite works from the show (many of which I first saw at the Musee d'Orsay in the summer of 1997).

Alfred Stevens, Le Bain, oil on canvas, 29 7/8" x 36 5/8", 1867

Henri Fantin-Latour, Victoria Dubourg, oil on canvas, 36 3/8" x 29 7/8", 1873

Henri Fantin-Latour, Antoine Vollon, oil on canvas, 11 7/8" x 7 1/8", 1865

Emile-Auguste Carolus-Duran, Lady with a Glove, oil on canvas, 89 3/4" x 64 1/2", 1869

Gustave Caillebotte, The Floor Scrapers, oil on canvas, 40 1/4" x 57 5/8", 1875

This show is definitely worth a trip to Nashville to see these amazing paintings before they return to their home in Paris.  The Birth of Impressionism continues through January 23, 2011.  The Frist has also posted a short video of visitor reactions to the exhibit that you can view by clicking HERE.  A favorite quote from the video a gentleman speaks about The Floor Scrapers painting "It said to me, that we are worked on by what we work on".

Twenty-Four Hours

Joaquin Sorolla, Vision of Spain 

Thursday was a full, wonderful day of inspiration and the joy of great friendship.  I headed to Philadelphia so that Diane Feissel and I could meet up with our other dear friend Sadie Valeri in New York City.  We started our day in upper Manhattan at the Hispanic Society of America.  This Museum/ Research Library, founded by Archer Milton Huntington in 1904, is devoted to the arts and literature of Spain, Portugal and Latin America.  The beautiful Beaux Arts building, constructed in 1904 on a farm originally owned by artist John James Audubon, was created specifically to house the Hispanic Society of America's impressive collection.  In May of this year, they finished renovating the fantastic Bancaja Gallery which has housed Joaquin Sarolla's Vison of Spain murals since 1926.  These 14 monumental canvases (commissioned specifically for the Hispanic Society) surround you when you enter and each represent a different facet of Spanish life.  This free museum is a real hidden treasure.

 Diane in the center of the Hispanic Society of America

 

 

 Joaquin Sorolla's Vision of Spain Murals

After feeling full on inspiration, we set out to fill our stomachs before heading to Arcadia Fine Arts a gallery in SoHo, at 51 Greene St NY, NY.  Sadie has one stunning piece included in their Small Works exhibit.  It was a wonderful opening reception for a beautiful show filled with small jewels of paintings, drawings, and photographs.  Small Works will be on exhibit thru October 13, 2010.

Sadie Valeri, The Wave, oil on panel, 9" x 12"

 

 Sadie, Me, Diane at Arcadia Fine Arts Small Works exhibit.

We ended the evening with more food and friends.  It was a truly wonderful twenty-four hours!

2010 Art Related Travels: San Francisco

I am woefully behind in blogging as of late.  Please be patient with me in my attempt to catch up.  Back in April, I had the opportunity to take a quick trip to San Francisco, California.  We only had a weekend, so I felt a bit rushed, but I did manage to see some fantastic Art while visiting.

 Carl Dobsky, Portrait of Layil (detail), oil on canvas, 12.5" x 9" 2009

At John Pence Gallery, we were fortunate enough to see the exhibition of Carl Dobsky's most recent drawings and paintings.  Dobsky studied Fine Art at the Ringling School of Art in FL, received his MFA from the New York Academy of Art, as well as studied under Jacob Collins at the Water Street Atelier in NY.  His paintings combine a controlled skill and refinement with a fresh liveliness to the paint that comes from thicker application in key areas.  Just off center of the room was a table that displayed several paintings that were framed double sided.   These double sided paintings, were mostly contemporary portraits on one side and still lifes of skulls and contemporary objects on the other.  I quite enjoyed circling this table several times, noting his choice of pairing portraits and skulls.
 

 More images and information for this exhibition of drawings and paintings by Carl Dobsky can be seen by clicking here.

Seeing such great paintings can make a girl hungry, so the good folks at John Pence Gallery recommended the Grand Cafe at the Hotel Monaco.  What a splendid suggestion that turned out to be.  Fantastic French cuisine in an Art Nouveau grand ballroom style atmosphere made for quite an experience.  Delicious!

  Grand Cafe at the Hotel Monaco, San Francisco California

The next day was spent at the De Young Museum.  Now, I must say that several friends that have lived in San Francisco have always been quite apologetic for the art museums of their city.  So going to the De Young, I had low expectations.  However, I am happy to report, I have no idea what those friends are apologetic for.  This smallish museum had quite a few holdings to be proud of.  Here are a few of my favorites:

 Thomas Dewing, Elizabeth Platt Jencks, oil on canvas, 1895

Alexander Pope, The Wild Swan, oil on canvas, 1900

Alexander Pope, The Wild Swan (detail), oil on canvas, 1900

John Singer Sargent, Caroline de Bassano, Marquise d'Espeuilles, oil on canvas, 1884

John Singer Sargent, Caroline de Bassano, Marquise d'Espeuilles (detail), oil on canvas, 1884

2010 Art Related Travels: NYC

As I stated in a previous post, in January I was quite fortunate to go visit my good friend Diane Feissel in Philadelphia.  While on that visit, we took a bus trip up to NYC to meet up with our other good friend and fabulous painter Sadie Valeri who was visiting the big apple from San Francisico.  We spent the entire day at the Metropolitan Museum of Art.  Seeing amazing works of art with two amazing friends was such a great way to break in the New Year!  Here are just a few of some of the works that struck me that day.  Again, there is much more to see at the MET and every time I get back there, I seem to find more great works I hadn't previously discovered.

Eugene Delacroix, Madame Henri Francois Riesener, oil on canvas 1835

Camille Corot, Portrait of a Child, oil on wood, 1835

Camille Corot is considered more of a french landscape painter (see example below) yet here in a room filled with Corot's masterful landscapes, I was surprised to find two of his finest portraits.  It is said that he painted fewer than 50 portraits in his life time which were mostly of his family or close friends. 

Camille Corot, The Environs of Paris, oil on canvas, 1860

Charles Brague, Bashi-Bazouk, oil on canvas, 1875

Jules Breton, The Weeders, oil on canvas, 1860

I loved walking into the room that this painting is hanging in.  It shares the space with a few Jean Francois Millet's wonderful paintings of a similar time of day.  I am in awe of paintings with back light situations.  It has got to be one of the most difficult casts of light to paint.  According to the placard hanging next to The Weeders, in his autobiography, Breton states that one evening he came across this twighlights scene of peasants pulling up "thistles and weeds... their faces haloed by the pink transparency of their violet hoods, as if to venerate a fecundating star".

 

2010 Art Related Travels: Philadelphia

As I said earlier, this first half of the year has been a very busy and art filled.  I need to take you back to January to give you a better idea of some of the great Art I've been so fortunate to see this year so far.  In January, I took a trip up to Philadelphia to visit my dear friend and fellow artist Diane Feissel.  She was so kind to take me around her new, fantastic city.  Among other things, she took me to the Philadelphia Museum of Art on an evening when they were hosting some wonderful Jazz Music.  We focused on viewing the American Collection which houses some of our countries greatests like Inness, Beaux, and several works by Thomas Eakins, in fact an entire room was dedicated to this local artist.  Here are some favorite images from this visit. 

Thomas Eakins, various portraits, Philadelphia Museum of Art

Thomas Eakins, Portrait of J. Harry Lewis, oil on canvas, 23 5/8 x 19 3/4 in, 1876

Thomas Eakins, The Agnew Clinic, oil on canvas, 84⅜ in × 118⅛ in, 1889

Thomas Eakins, The Agnew Clinic (detail), oil on canvas, 1889

Thomas Eakins, The Agnew Clinic (detail), oil on canvas, 1889

 George Inness, Short Cut Thru Watchung Station New Jersey, oil  on canvas, 1883

Cecilia Beaux, Portrait of George Burnham, oil on canvas, 47 3/4 x 41 3/8 in, 1887

There are of course many many more exemplary works in this museum.  The Philadelphia Museum of Art is definitely worth a visit.  They also have a very good website that shows most of their collection with the ability to zoom in.  You can find better images of these paintings and view the PMA's website by clicking HERE.

Next post will be about a quick trip to NYC... stay tuned.