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ANDREW WYETH

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Bianca
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« Reply #15 on: January 16, 2009, 01:01:33 pm »




                                   
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« Reply #16 on: January 16, 2009, 01:14:18 pm »




             

               Andrew Newell Wyeth
               (American, born 1917–2009)



                Winter 1946,
 
               Tempera on composition board, 31 3/8 x 48 in. (79.7 x 121.9 cm)
               Purchased with funds from the State of North Carolina, 72.1.1






Andrew Wyeth's meticulously imagined art conveys a tragic vision.

Considered together, his paintings comprise a lifelong meditation upon the frailty of life and the imminence
of death. The artist celebrates the bleak landscape of late autumn and winter, the weathered barns and farmhouses of Maine and Pennsylvania, and the people who endure a hardscrabble existence on the margins of society.

Winter 1946 is one of the artist's most autobiographical works, painted immediately after the death of his father, the celebrated illustrator N. C. Wyeth.

According to the artist, the hill became a symbolic portrait of his father, and the figure of the boy, Allan Lynch, running aimlessly "was me, at a loss—that hand drifting in the air was my free soul, groping." Even without this story, the image is troubling: a dark, jagged form set awkwardly against an oceanic swell of brown.

A skilled dramatist, Wyeth eliminates all distracting elements from the scene.

The boy and his thoughts are visually isolated, his eyes averted.

Further deepening the physical and emotional alienation of the boy, the artist has us look down upon the scene from an improbable height.

The heightened clarity of the picture results from Wyeth's use of the egg tempera medium: ground earth and mineral colors mixed with yolk and thinned with water. Wyeth once admitted he likes tempera for its "feeling of dry lostness."



http://www.ncartmuseum.org/collections/highlights/20thcentury/20th/1910-1950/039_lrg.shtml
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« Reply #17 on: January 16, 2009, 05:50:50 pm »



CHRISTINA'S WORLD





On his twenty-second birthday, while spending the summer in Maine, Wyeth met Betsy Merle James, the daughter of a newspaper editor. They were married the following year, on May 15, 1940. At their first meeting Betsy James had taken Wyeth to Cushing to introduce him to her long-time friend Christina Olson, who had been crippled by polio in childhood. It was her weather-beaten, three-story, steep-roofed, clapboard house, built on a coastal promontory, rather than Christina herself, that attracted Wyeth’s interest on that occasion. But Christina’s personality and qualities that seemed to Wyeth to represent Maine gradually made her his favorite subject. The Olsons-Christina and her brother Alvaro, a blueberry farmer, were the Maine counterpart of the Kuerners. He was free to come and go in the Olson household, as he was at the Kuerners’, and turned a second-story room in Christina’s house into a studio.

Christina’s World (1948), a tempera owned by the Museum of Modern Art, has a haunting appeal and broad symbolism that account largely for its having become probably Wyeth’s most popular work. Christina---whose crippled condition, like the peeling wallpaper of a Wyeth interior, does not immediately engage the viewer’s attention---drags herself through a blueberry field toward her distant house. Only her pink dream relieves the bleakness of the landscape. Wyeth’s tender, subtle portraits, Christina Olson (1947), Miss Olson (1952), and Anna Christina (1967), as Mary Rose Beaumont pointed out, make it clear that "Christina is not the eager, young yearning woman of Christina’s World, but an ugly, hideously crippled middle-aged woman, whose quality of mind Wyeth admired to the point where ugliness is transcended in the loving truth of his portrayal."



FROM:

Biography Of Andrew Wyeth by Frank E. Fowler:

http://www.askart.com/AskART/artists/biography.aspx?searchtype=BIO&artist=24079
« Last Edit: January 16, 2009, 07:44:38 pm by Bianca » Report Spam   Logged

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« Reply #18 on: January 16, 2009, 05:53:48 pm »




           

            MASTER BEDROOM
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« Reply #19 on: January 16, 2009, 05:56:08 pm »




             

              WIND FROM THE SEA
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« Reply #20 on: January 16, 2009, 06:00:36 pm »




         

          EASTERLY
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« Reply #21 on: January 16, 2009, 06:44:35 pm »




                                  

                                   In this Feb. 23, 1964 file photo,
                                   artist Andrew Wyeth stands
                                   in front of his farm in
                                   Chadds Ford, Pa.
« Last Edit: January 16, 2009, 06:46:50 pm by Bianca » Report Spam   Logged

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« Reply #22 on: January 16, 2009, 06:50:26 pm »




                                            

In this Feb. 10, 1964 file photo American artist Andrew Wyeth poses with a print of his painting 'Her Room' outside his home in Chadds Ford, Pa.
« Last Edit: January 16, 2009, 06:52:31 pm by Bianca » Report Spam   Logged

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« Reply #23 on: January 16, 2009, 06:54:27 pm »




                                   

In this Feb. 19, 1970 file photo, American artist Andrew Wyeth appears at the White House in Washington with first lady Pat Nixon, who ultimately chose Wyeth to paint an official portrait of President Richard Nixon.
« Last Edit: January 16, 2009, 06:56:15 pm by Bianca » Report Spam   Logged

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« Reply #24 on: January 16, 2009, 06:58:14 pm »





                                 

In this May 1985 file photo, American artist Andrew Wyeth poses at an unknown location with his wife, Betsy, in front of his paintings 'The Patriot' and 'Maga's Daughter,' right, for which Betsy was the model.
« Last Edit: January 16, 2009, 06:59:41 pm by Bianca » Report Spam   Logged

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« Reply #25 on: January 16, 2009, 07:01:35 pm »




                                   

In this 1987 file photo, American artist Andrew Wyeth stands beside one of his paintings of 'mystery model' Helga at the National Gallery in Washington,
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« Reply #26 on: January 16, 2009, 07:32:11 pm »




                                   

In this May 11, 2004 file photo, artists Andrew Wyeth, right, and his son, Jamie, smile after receiving the Avatar Award for Artistic Excellence from the Arts and Business Council of Greater Philadelphia in Philadelphia.
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« Reply #27 on: January 16, 2009, 07:35:07 pm »




                                   

In this Nov. 15, 2007 file photo, painter Andrew Wyeth, of Chadds Ford, Pa., right, walks with President Bush as he receives the 2007 National Medal of Arts during a ceremony in the East Room of the White House in Washington.
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« Reply #28 on: January 16, 2009, 10:13:03 pm »




             

Victoria Wyeth guides a tour group at the Brandywine River Museum in Chadds Ford, Pa., earlier this month.
 
Matt Rourke
/ AP 








                                                     One-of-a-kind museum tours



                               From a family of artists, Victoria Wyeth offers insight, memories
 

 
   
 


Associated Press
May. 27, 2008
CHADDS FORD, Pa.

- It's clear this isn't the typical tour of a museum with major works of art when the guide sidles up to a painting and begins: "I'll never forget it. We're having cheeseburgers across the street at Hank's and he's telling me about this one."

The guide with the ultimate insider's knowledge is Victoria Wyeth, 29, great-granddaughter of N.C. Wyeth, only grandchild of Andrew Wyeth and niece of Jamie Wyeth. And her popular talks are equal parts art lesson, gossip session and peek inside the clan often called the first family of American art.

Six days a week she gives her one-of-a-kind tours at the Brandywine River Museum, a converted 19th-century grist mill with a permanent collection that includes hundreds of works by three generations of Wyeths.

"What's nice about art is you can take what you want from it. I'm just here to provide a little context," she tells visitors one recent day, during the first of her two daily 30-minute tours.

Her first session this day includes the works of Andrew Wyeth, 91, and his son Jamie, 61; the second focuses solely on the elder Wyeth. The works discussed vary, depending in part on the age of the group following her.

"So few artists actually write what they're thinking about in their pictures," she says, "and you're in art history and your teacher's telling you, 'This is what da Vinci thought' and you think, 'How do you know?'"

Tall and slender, gregarious and in constant motion, Wyeth regales those on her popular tours with unscripted stories about what inspired the paintings and the unconventional ways they came to be.

How did her uncle Jamie recreate the texture of his 600-pound sow Den-Den's hide in the famous life-size "Portrait of Pig"? He dragged his fingernails through the wet paint.

Why has her grandfather painted the same people and places all his life — shouldn't he have gone to Paris or something? "He says, 'Listen, if you can find inspiration in the same person for 50 years, the same tree, that's the test of an artist: to find different ways of painting the same thing,'" she recounts to the group.

But the answers to two questions she hears most frequently are:

"My grandfather is not dead. I'm sure, because I just saw him."

"I don't paint. You either have it or you don't, and it was very clear that I didn't."

Known to her family as "Vic," she is the daughter of Nicholas Wyeth — an art dealer and the older of Andrew and Betsy Wyeth's two sons — and art consultant Jane Wyeth.

She started giving Wyeth-centric tours at age 15 for the Farnsworth Museum in Maine, graduated from nearby Bates College and later got a master's degree in clinical psychology from Wesleyan University.

Her other job at an area mental hospital means she doesn't summer in Maine with her grandparents and uncle — all of whom have homes mere minutes from the museum. "Everyone goes except me. I'm the one with the normal job," she says with a laugh.

If some wouldn't define such a career as "normal," neither would they consider hers a typical family.

With relish and to the delight of her audience, Victoria Wyeth talks about the quirks of her artistic family: how her grandfather "fell in love with a tree" last summer in Maine; her uncle's beloved barnyard menagerie; the family affection — or obsession — with Halloween.

"You could be 95 and we still expect you to dress up," she says.

The tales of her famous family are enthusiastically received by museum-goers.

"They're interesting, fun things you'd never find in an art book," says visitor Sylvia Rossi, of Wilmington, Del. "To hear firsthand about the person in a painting, or the place it was painted, it just makes you look at everything in a different way."

Just as important to her is bringing the audience's reactions home. On a recent day, Wyeth is thrilled by a woman's response to her grandfather's just-finished tempera, "Goose Step," hung just hours earlier.

"When the lady started clapping, it was wonderful," she says. "That's what's so incredible — now I can go home and tell him that. He'll be so excited."

Following that tour, Andrew and Betsy Wyeth paid one of their frequent visits to the museum to see how that brand-new painting looked on the wall.

Bundled in a long down coat to ward off the unseasonably cold and damp weather, he beams as he steps off the museum's second-floor elevator and his granddaughter greets him with a kiss. Museum employees swiftly and quietly mobilize to ensure the artist's well-known desire for privacy is maintained as he enters the gallery.

"He's 91. He doesn't do interviews anymore," his granddaughter explains. "He says, 'Vic, everything I have to say is on the walls.'"
« Last Edit: January 16, 2009, 10:21:58 pm by Bianca » Report Spam   Logged

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« Reply #29 on: January 16, 2009, 10:24:22 pm »





       


Victoria Wyeth responds during an interview at the Brandywine River Museum in Chadds Ford, Pa., Monday, May 12, 2008.

From a family of artists, Wyeth, 29, great-granddaughter of N.C. Wyeth, only grandchild
of Andrew Wyeth and niece of Jamie Wyeth, gives tours six days a week at the
Brandywine River Museum.
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