Thursday, May 17, 2018

Max Slevogt, Secessionist

Max Slevogt (1868-1932) is categorized as an Impressionist, but also did some Symbolist subject paintings and other kinds of works including illustration. He became associated with the Berlin Secession, according to his Wikipedia entry. Another source filled with a confusing mix of facts, and dates is here.

These and other sources state or imply that Slevogt was a very important German painter. That is probably so, though I can't work up much enthusiasm for his manner of sketchy brushwork and therefore don't regard him highly.

Your taste may well vary, so here are images of some of his paintings in approximately chronological order to ponder.


Die blonde Theres - 1896

Totentanz (Death Dance, or Dance with Death) - 1896
The same model seems to be in both paintings.

Autumn Evening Mood, Neukastel - 1897

Feierstunde The Day's Work Done - 1900

The Dancer Marietta di Rigardo - 1904
Around this time, Slevogt's sketchy style kicks in more noticeably.

Dame im weissen Reitkleid zu Pferde (Lady in White Riding Clothes on a Horse) - 1910
This might be his wife, Antonie (Nini) Finkler.

Spring in the Palatinate - 1910

Anna Pavlova
More than a sketch, less than a painting.

Unter den Linden - 1913
Berlin's main street shortly before the Great War.

Portrait of Dancer Antonia Mercé, Called "La Argentina" - 1926

Monday, May 14, 2018

Stanhope Forbes: Cornwall Scenes

A Fish Sale on a Cornish Beach - 1885

Stanhope Alexander Forbes (1857-1947) painted scenes in Brittany and elsewhere in England, but his focus was Cornwall, at Britain's western tip. A fairly lengthy Wikipedia entry for Forbes is here. I wrote about the painting shown above here. It is perhaps his best-known work and the excellent brushwork is best appreciated in person, though you normally need to visit the Plymouth City Museum and Art Gallery to view it.

Below are some other Cornish scenes painted by Forbes.


The Health of the Bride - 1889
This indoor Cornish painting was part of the original Tate collection.

A Cornish Village - 1903
More of a sketch than a finished work, thought Forbes signed it.

The Seine Boat - 1904
Forbes did much plein air painting, but this had to be mostly or entirely studio-made.

At the Moorage - 1906

Gala Day at Newlyn, Cornwall - 1907

The Inner Harbour, Abbey Slip - 1921
Not long ago, local folks helped keep this painting from being removed from Cornwall (some details here).

The Fisherman's Expedition - 1923

Causewayhead, Penzance - 1943
A late painting done in wartime: note several British solders along the street.

Thursday, May 10, 2018

Some Pissarro Marketplace Paintings

Camille Pissarro (1830-1903) often returned to the same kind of subject over his career. One of the subjects that occasionally crops up is marketplace scenes. Some are "establishment shots," where the market square is seen from a distance. Others are closeups, with sellers and buyers in the foreground and crowds in the background.

Shown below are five such "closeup" scenes. My knowledge of Pissarro is sketchy, so I relied on Internet sources for captions reporting the paintings' subject markets and dates. Assuming that information is correct, Pissarro made them from time to time over nearly a decade.


Poultry Market, Pontoise - 1882

Poultry Market - 1885

Market at Gisors (unfinished) - 1889

Market, Gisors - 1891

Poultry Market, Pontoise - 1892

Market at Gisors - 1899

Monday, May 7, 2018

Picasso From Around 1930-1940

I posted a "Towards the End" topic dealing with Pablo Picasso (1881-1973) and his post-1950 paintings here. I concluded: "To my eye, there was no real stylistic progression or sense of direction over the 20 years [ca. 1950-1970] covered by the example images.... This ties into the thesis of my e-book "Art Adrift" that once the elements of modernist painting had been established by around 1920, aspiring modernists and even established ones such as Picasso had no real sense of what to do next."

My benchmark for that analysis was his Dora Maar au chat of 1941 that not many years ago was auctioned at a very high price. So my point was that he seemingly had largely run out of creative fuel by the time he was around 60 years old.

Which leads us to the present post that deals with some of his paintings from the late 1920s into the early 1940s. His stylistic changes are shown with an eye towards both his previous and future work.


Painter and His Model - 1928
Very flat, largely primary colors with black lines on a nearly-white background. These features are Piet Mondrian- like, absent the rigid geometry. The "model" at the left has three eyes arranged vertically, a fairly early example of his radical repositioning of his subjects' elements. In a sense, this is an extension of cubist practice, but without so much clutter.

Seated Woman - 1930
More flat colors, but thinner lines and attention to overlapping areas.

Crucifixion - 1930
More flatness along with not-quite-human subjects.  An exception is the tiny Dalí-like lancer on his horse at center-left.

Woman with a Flower - 1932
Picasso is concerned with patterns here as well as ways of distorting the human figure. Returning is some modeling atop otherwise flat areas.

Woman's Head - 1934
He continues his exploration of distortions and rearrangements. Fortunately for Picasso, his fame had long since reached the point where his signature on a painting would almost guarantee its sale regardless of its quality.

Minotaur with a Dead Horse in Front of a Cave Facing Girl in a Veil - 1936
He also took some time-outs to return a little closer to representation.

Dora Maar - 1937
Portrait of his mistress at the time he painted his famous "Guernica." Flat areas of 1930 vintage are gone while he continues playing with post-cubist rearranging.

Weeping Woman - 1937
Here he tries leaving a segment in monochrome where a handkerchief might be.

Woman with Cockerel - 1938
Continuing his exploration of distortion, rearrangement.

Dora Maar - 1939
A return to flatter areas and heavy lines. I wonder what Dora thought of this one.

Seated Dora Maar - 1941
Two years later, Dora is still around, and so are Picasso's late-1930s concepts.  To me it seems that he had largely run out of new stylistic ideas by that time and was settling into the long period mentioned in the link above.

Thursday, May 3, 2018

In the Beginning: Andrew Wyeth

Christina's World - 1948

Andrew Newell Wyeth (1917-2009), son of famed illustrator N.C. Wyeth, was a sickly lad who in 1951 had part of a lung removed, yet lived 91 years and attained fame perhaps surpassing that of his father. "Christina's World," shown above, is his most iconic work and resides in New York's Museum of Modern Art, of all places.

Wyeth's Wikipedia entry is here, and an interesting timeline can be found on the Web site devoted to him.

I'll probably get around to posting about the disdain his work provoked amongst modernist-oriented observers at some point. For now, let's focus on how quickly Wyeth evolved his signature style that, with some variation, he practiced for some 60 years. Because his work was so commercially successful and so far removed from trendy art movements of his time, he had no reason to follow that aspect of the art market.


Spring Landscape at Kuerners - 1933
The sky is slightly cropped in this image. It was painted in oils when Wyeth was about 16. He switched to watercolors and tempera not long after he made this.

Lobsterman - 1937
Wyeth was about 20 when this watercolor was painted.

Frog Hunters - 1941
He was still using bright colors at this point: that would soon change.

Public Sale - 1942
By about age 25 Wyeth was settling into colors and techniques that he would largely follow for the rest of his career.

Winter fields - 1942

Oil Lamp - 1944
Another wartime painting. Wyeth's health made him unfit for military service.

Wind from the Sea - 1947
Painted when he was about 30.

Trodden Weed - 1951
Completed soon after his lung operation.

Monday, April 30, 2018

André Derain's Changing Styles

André Derain (1880-1954) was a noted modernist who, like Picasso, changed styles at many points in his career. Unlike Picasso, perhaps because his paintings are less famous, Derain's paintings can be fairly hard to identify as being his. For example, I posted here about his landscapes, many of which bear little stylistic relationship to how he painted other subjects.

Derain is best known for being a founder of Fauvism, along with Henri Matisse. He also was involved in the brief post- Great War return to classicalism by modernists, but beyond that point, he didn't involve himself with later movements such as Dada and Surrealism, and so far as I know never did abstract painting.

For some information regarding his career, go here.

Due the the lack of a strong Derain style, I cannot guarantee that all the paintings below are his or that they are correctly dated. I had to rely on captions for them found on the Web in a more naïve manner than I prefer.


Pichet, verseuse tripode ou La chocolatière - 1899-1900
A strongly painted still-life not far removed from some Hans Hofmann abstractions of 60 years later.

Le bal Suresnes - 1903
A fairly naturalistic scene with a few hints of Fauvist coloration.

Henri Matisse - 1905
Fauvist portrait of a fauvist.

Charing Cross Bridge - 1906
Fauvist cityscape. Parliament towers are the green stuff above the bridge.

Still Life - 1910
Assuming this is by Derain (no visible signature), this seems to be about as close to Cubism as he could manage.

The Last Supper - 1911
Hints of Cubist faceting here.

Alice Derain - 1921
A example of his postwar return to representational art, though there is a little modenrst-inspired simplification.

Harlequin et Pierrot - 1924
Probably Derain's best-known non-fauvist work. Distortion of some proportions and perspective.

Mme van Leer - 1929
Continuing towards 1930 with a few modernist whiffs.

The Painter and his Family - 1939
Flatness and simplification creep in here as well as in some other paintings from around this time.

Vue de Donnemarie-en-Montois - c.1942
But not in this landscape painted a few years later.

Self-Portrait - 1953
This is one of very few post- World War 2 Derain paintings I noticed on the Internet.