Created in the aftermath of World War II, Painting (1946) is likely a veiled portrait of Neville Chamberlain, the British prime minister who often carried an umbrella and has gone down in history for his policy of accommodation of the Nazi regime. His dark suit is punctuated by a bright yellow boutonniere, yet his bared teeth and concealed gaze suggest brutality. This sense of menace is accentuated by the cow carcasses suspended behind him. The drawn window shades evoke those found in a widely circulated photograph of Hitler’s bunker, an image that Francis Bacon included in mulipleworks. Bacon claimed that this work was an accident; he had originally set out to paint a bird descending onto a field.
By the early 1940s, the largely self-taught, Armenian-born Arshile Gorky had formed close friendships with several members of the Surrealist group in New York, including Roberto Matta, who encouraged him to develop his own personal abstract language through experimentation with automatism and biomorphic forms. Gorky turned to the subject matter of fertility and nature; at the same time, he frequently visited the Connecticut and Virginia countrysides, which reminded him of his homeland.
Combining these ideas around 1944, the artist began to work on the theme of The Plough and The Song (1946). Though the organic forms and sinuous, curving lines here seem spontaneous, Gorky planned the composition very carefully, systematically developing the imagery of this canvas in at least three drawings and three oil paintings.
Surrealism was identified by its proponents as a way of reuniting the conscious and unconscious realms of experience so that the world of dream and fantasy could be joined to the everyday rational world — or what one critic called “an absolute reality, a surreality.” René Magritte accomplished this by merging dreamlike imagery and naturalistic detail, as in his iconic canvas Time Transfixed (1938). He also worked carefully on his titles, and he was ultimately unhappy with the English translation of the title of this painting. The original French, La Durée Poignardée, literally means “ongoing time stabbed by a dagger.” Magritte hoped that when his patron Edward James purchased this painting, he would install it at the bottom of his staircase so that the train would “stab” guests on their way to James‘ ballroom. In an ironic twist, he hung it over his fireplace, to Magritte’s great dissatisfaction.
Although Stuart Davis did not travel to Paris until 1928, he was well versed in avant-garde European art, including the innovative still lifes of of Pablo Picasso. Super Table (1925) experiments with the nature of the genre, toying with issues of illusion and perspective. Davis was also influenced by popular advertisement imagery, and his graphic style evokes the mechanical, cartoon like forms of commercial printing that were the hallmark of American culture
After arriving in Paris in 1882, Louis Anquetin studied at the Atelier Cormon, where he met and befriended Henri de Toulouse-Lautrec. The frenetically innovative Aquetin was, in Lautrec’s words, “the glory of the studio.”
Both artists focused on la vie moderne, particularly the nocturnal life of Paris. This painting (1888) depicts an unescorted woman walking through the garden of Élysée Montmartre, a dance hall that predated the Moulin de la Galette and the Moulin Rouge, both locations also painted by Lautrec. Who she is remains a mystery, but her unusual printed dress and extravagant hat, more costume than fashion, suggest she might be an off-duty performer. In contrast to the female figures who lurk among the trees in the background, Anquetin’sélégante appears at ease in the spotlight, not a visitor but a part of this popular entertainment spot.
An Elegant Woman at the Élysée Montmartre was photographed in the Art Institute Chicago.
Asger Jorn (1914 – 1973) was a founding member of CoBrA, a European artists coalition active from 1948 to 1951 that emphasized material and its spontaneous application. Even after 1957, when Jorn began participating in the Situationalist International — a group of writers, artists and theorists who sought to destabilize societal practices and structures — he continued to work within the CoBrA aesthetic, as seen in A Soul For Sale (1958 –59). With its expressive brushwork and its collapsing of foreground and background, figuration and abstraction, this painting articulates some of Jorn’s most significant interrogations of the precepts of geometric abstraction.
Though Paul Jenkins (1923 – 2012) briefly worked among the painters of the New York School, he remained committed to representational art until 1953, when he moved to Paris. There, he discovered the lyrical painterly style of abstraction known as Tachisme. Many artists associated with this movement attempted to express the unconscious mind directly through the act of painting. Jenkins, a devotee of the era’s popular writings on Zen, sought to join this ideal of unmediated expression with his spiritual convictions, aspiring to uncover metaphysical truths by relinquishing conscious control. His early explorations of this approach yielded turbulent, atmospheric compositions like The Prophecy (1956), that seemingly envision a plane of existence without articulated material differentiation.
Hailed as “the perfect painter” by avant-garde writer Gertrude Stein, Juan Gris developed his signature approach to Cubism beginning in 1911. Using classic café subject matter — such as the newspaper, seltzer bottle, and glass seen here — Gris made subtle adjustments to the conventions of picture making that render ordinary objects both familiar and newly intriguing. For example, in The Checkerboard (1915) and its bird’s-eye view of a tabletop, a cunning reorganization of pictorial space places objects that should have volume into a single compressed plane. With a nod to play, Gris shows us a fragmented checkerboard, an emblem of the strategy and gamesmanship at the center of his art.
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.