After Kurt Seligmann (1900 – 1962) settled in Paris, his sinister, biomorphic compositions gained the attention of Andre Breton, who invited him to join the Surrealist group in 1937. With the outbreak of World War II, Seligmann became the first Surrealist to arrive in New York, and he was instrumental in the emigration of most of the movement’s leading figures. Transformed by contact with new cultures, Seligmann’s work continued to evolve, and as the Surrealist’s acknowledged expert on magic, he infused his paintings with mythology and esotericism. Indeed, the year he made this work, Magnetic Mountain(1948) he published The Mirror of Magic, a history of the occult. The winding forms and mystical quality of this canvas would influence a new generation of American artists, including his student, Robert Motherswell.
It was at the Five Points Festival that I spotted this amazing painting by artist Paul Fernandez-Carol that mashes up The Beatles with characters from Star Wars in a very clever way. On one hand, we could be looking at The Beatles, dressed in their colorful, highly-recognizable satin band suits from the Sgt. Pepper-album cover — Ringo in Pink, John in Yellow, Paul in Blue and George in Red — who are avoiding being recognized by wearing disguises on their heads. On the other hand, this might be the Star Wars saga characters of a Scout Trooper, Darth Vader, Boba Fett and an Imperial Stormtrooper (who are all distinguishable by the helmets they wear) posing as The Beatles. Who can say? Speaking of posing, I believe that the figures’ poses in this painting were copied from This Photo of the Fab Four taken in 1967 during a promotional photo shoot for the Sgt. Pepper album cover. You can see more art by Fernandez-Carol on his page at Seven Arts Gallery.
One of the most versatile and inventive English artists of the postwar era, David Hockey settled in Los Angeles in 1964. An especially iconic example from a group of double portraits of friends and associates from the 1960s, American Collectors (1968) depicts the contemporary-art collectors Fred and Marcia Weisman in the sculpture garden of their of their Los Angeles home. As stiff and still as the objects surrounding them, the couple stands apart, his stance echoed in the totem pole to the right, hers in the Henry Moore sculpture behind her. Brilliant light flatters the scene and sets the couple in sharp relief; they seem oblivious to each other as well as to their art
The Drinkers (1890) was painted during Vincent Van Gogh’s time in the Saint-Paul-de-Mausole asylum in Saint-Remy-de-Provence, a small town in the south of France. Van Gogh was highly productive during this time, but he struggled to maintain confidence in his own abilities as painter. To retrain himself, he made a number of copies after the works of artists he admired, which freed him from having to produce original compositions and allowed him to concentrate instead on interpretation. Van Gogh borrowed this composition from a black and white print after Honore-Victorin Daumier, but the vibrant colors were his own invention. The greenish palette may be an allusion to the notorious alcoholic drink, Absinthe.
Chicago-based surrealist Gertrude Abercrombie (1909 – 1977) was acclaimed for her enigmatic paintings of stark interiors and illusory landscapes. On first glance, Self Portrait As My Sister (1941) appears to be relatively straight-forward representation, lacking the idiosyncratic imagery of her complex, dreamlike works. But Abercrombie was an only child, and the title’s allusion to a sister heightens the paradox of the painting. She frequently used self-portraiture as a means of trying on new guises and personas, later observing, “It’s always myself that I paint, but not actually, because I don’t look that good or cute.” Indeed, in her records she referred to this work as “Portrait of Artist as Ideal.” Her reference to a fictitious and prettier sister hints at desire to be a different person, a longing she could satisfy through her painting.
Luigi Lucioni and Paul Cadmus probably met as students, and they doubtless shared acquaintances within New York’s circles of gay artists and writers. Lucioni’s likeness of Cadmus (1928) celebrated the shared passion of two young moderns for the ideal forms of Italian Renaissance art, particularly the paintings of Piero della Francesca. Within a modern close-up format, the artist captured a gaze that is at once tentative and mesmerizing.
Alejandro Puente (1933 – 2013) was at the fore of a group of artists from La Plata, Argentina, who shared with American Minimalist and Conceptual artists of the 1960s a devotion to the rigorous exploration of systems of color and form. This composition reflects Puente’s preference for the primary colors as they appear unmixed on a color wheel. Arranged together, four equilateral triangles make up a single, larger triangle, with the three primary colors radiating out from an anchor in black. An even white strip runs along two sides of each triangle, suggesting a state of incompleteness while also creating the perimeter of overall composition. As this composite work suggests, the abstract vocabularies practiced by La Plata artists effectively abandoned traditional painting by embracing the shaped canvas, the support assuming its own identity in space as an object
Photographed in the Metropolitan Museum of Art in NYC.