Does this look to you like a Pink Soda Can is wearing Pink Sunglasses? Because that’s what it looks like to me. This photo was absolutely not staged but part of real-life scenario I encountered near the downtown intersection of West 57th Street and Broadway. After a pause-and-crouch to snap a few pics, I was on my way again!
Many of Winslow Homer’s images of the Bahamas evoke the idea of the island as a paradise created especially for tourists. Enjoying local fruits was perceived as a fundamental luxury of the visitor experience, as one contemporary guidebook noted: “Oranges to daily break our fast in the morning, and delightfully crown our afternoon meal, are felt to be a necessity. Without them the most elaborate feast fails to satisfy.” This vibrant watercolor, Oranges On a Branch (1885), a rare still life by the artist, offers a complete sensory experience — ripe citrus, bright green leaves, and fragrant blossoms are bathed in warm sunlight.
Photographed in the Metropolitan Museum of Art as Part of Winslow Homer: Crosscurrents, on Exhibit Through July 31st, 2022.
Like most still lifes, Tom Wesselmann’s Still Life #57 (1969–70) presents a number of ordinary objects — including an orange, a bouquet of flowers, a light switch, a radio, and a checked tablecloth. The artist spent three years developing this monumental work. The “main difficulty . . . and the one that took so long to resolve, was cropping or not cropping the radio,” he said. “I wanted to crop it to keep it more in a painting reference rather than something like a stage set.”
Photographed in the Museum of Modern Art in Manhattan.
Giorgio de Chirico’s work represents an unexpected form of classicism in early avant-garde painting. The Philosopher’s Conquest (1913 – 14), one of six in a series, combines a Mediterranean cityscape with familiar still-life objects that appear in many of the artists’s paintings, including a classical arcade, a cannon and cannonballs, a clock, chimney and a train. The stage set is an Italian piazza, virtually deserted except for the menacing, shadowy figures outside the edge of the scene. Rendered with a matter-of-fact — though intentionally crude — precision, de Chirico’s paintings seem rife with meaning but are resolutely enigmatic. Indeed, by juxtaposing incongruous objects, he sought to produce a metaphysical art, one that “resembles . . . the restlessness of myth.”
Georgia O’Keeffe (1887 – 1986) was fascinated by the animal bones, weathered and worn, that she found in the desert in New Mexico. In Red and Pink Rocks and Teeth she presented a jawbone alongside two stacked rocks that appear both monumental and indeterminate. The smooth, rounded forms of the red and pinks rocks appear in enigmatic relation to one another, as the red pebble seems to recede from the picture plane even though it must be perched on top of the pink stone. Their abstracted forms and warm colors contrast sharply with the bleached, angular teeth and hard, cracked appearance of the jawbone and together construct a tromp l’ceil that questions the nature or representation and perception.