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CHAPTER SEVEN
PAINTING
I
n the Western tradition, painting is the queen of the arts. Ask ten people to
form a quick mental image of āart,ā and nine of them are likely to visualize
a painting. There are several reasons for the prominence of painting. For
one thing, paintings usually are full of color, which is a potent visual stimulus. For another, paintings usually are framed, some quite elaborately, so that
one has the impression of a precious object set off from the rest of the world.
Even without a frame, a painting may seem a thing apartāa focus of energy
and life, a universe unto itself. Whatever the painting shows, it establishes its
own visual scope, sets its own rules.
If we consider some of the earliest cave images, especially the more elaborate and colorful ones, to be paintings, then the art has been practiced for at
least thirty thousand years. During that long history the styles of painting have
changed considerably, as have the media in which paintings are doneāthe
physical substances the painter uses. In the latter case it might be more accurate to say broadened, rather than changed, for few media have been completely abandoned, while many new options have been added to the painterās
repertoire.
To begin this discussion of painting, we should deļ¬ne some terms that allow us to understand how, physically, such a work of art is put together. Paint
is made of pigment, powdered color, compounded with a medium or vehicle,
a liquid that holds the particles of pigment together without dissolving them.
The vehicle generally acts as or includes a binder, an ingredient that ensures
that the paint, even when diluted and spread thinly, will adhere to the surface.
Without a binder, pigments would simply powder off as the paint dried.
Artistsā paints are generally made to a pastelike consistency and need to
be diluted in order to be brushed freely. Aqueous media can be diluted with
water. Watercolors are an example of an aqueous medium. Nonaqueous media require some other diluent. Oil paints are an example of a nonaqueous
medium; these can be diluted with turpentine or mineral spirits. Paints are applied to a support, which is the canvas, paper, wood panel, wall, or other surface on which the artist works. The support may be prepared to receive paint
with a ground or primer, a preliminary coating.
It is impossible to tell which painting medium is the oldest, but we know
that ancient peoples mixed their pigments with such things as fat and honey.
Two techniques perfected in the ancient world that are still in use today are
encaustic and fresco, and we begin our discussion with them.
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7.3 Raphael. The School of
Athens. 1510ā11. Fresco,
26 ā«.'81 ×ā¬
Stanza della Segnatura, Vatican,
Rome.
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While Michelangelo was at work on the frescoes of the Sistine Chapel
ceiling (see 16.11, 16.12), Pope Julius II asked Raphael to decorate the walls
of several rooms in the Vatican Palace. Raphaelās fresco for the end wall of the
Stanza della Segnatura, a room that may have been the Popeās library, is considered by many to be the summation of Renaissance art. It is called The
School of Athens (7.3) and depicts the Greek philosophers Plato and Aristotle,
centered in the composition and framed by the arch, along with their followers and students. The āschoolā in question means the two schools of philosophy represented by the two Classical thinkersāPlatoās the more abstract and
metaphysical, Aristotleās the more earthly and physical.
Everything about Raphaelās composition celebrates the Renaissance
ideals of perfection, beauty, naturalistic representation, and noble principles.
The towering architectural setting is drawn in linear perspective with the vanishing point falling between the two central ļ¬gures. The ļ¬gures, perhaps inļ¬uenced by Michelangeloās ļ¬gures on the Sistine ceiling, are idealizedāmore
perfect than life, full-bodied and dynamic. The School of Athens reļ¬ects
Raphaelās vision of one Golden Ageāthe Renaissanceāand connects it with
the Golden Age of Greece two thousand years earlier.
The most celebrated frescoes of the 20th century were created in
Mexico, where the revolutionary government that came into power in 1921
after a decade of civil war commissioned artists to create murals about Mexico itselfāthe glories of its ancient civilizations, its political struggles, its
people, and its hopes for the future. Mixtec Culture (7.4) is one of a series of
frescoes painted by Diego Rivera in the National Palace in Mexico City. Mixtec people still live in Mexico, as do descendants of all the early civilizations
of the region. The Mixtec kingdoms were known for their arts, and Rivera has
portrayed a peaceful community of artists at work. To the left, two men, probably nobles, are being ļ¬tted with the elaborate ritual headdresses, masks, and
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capes that were a prominent part of many ancient Mexican cultures (see
20.10, 20.12). To the right, smiths are melting and casting gold. In the foreground are potters, sculptors, feather workers, mask makers, and scribes. In
the background, people pan for gold in the stream.
7.4 Diego Rivera. Mixtec
Culture. 1942. Fresco, 16'15ā8" ā«×ā¬
10'55ā8".
Palacio Nacional, Mexico City.
TEMPERA
Tempera shares qualities with both watercolor and oil paint. Like watercolor,
tempera is an aqueous medium. Like oil paint, it dries to a tough, insoluble
ļ¬lm. Yet while oil paint tends to yellow and darken with age, tempera colors
retain their brilliance and clarity for centuries. Technically, tempera is paint in
which the vehicle is an emulsion, which is a stable mixture of an aqueous
liquid with an oil, fat, wax, or resin. A familiar example of an emulsion is milk,
which consists of minute droplets of fat suspended in liquid. A derivative
of milk called casein is one of the many vehicles that can be used to make
tempera colors. The most famous tempera vehicle, however, is another naturally occuring emulsion, egg yolk. Tempera dries very quickly, and so colors
cannot be blended easily once they are set down. While tempera can be
TEMPERA ā¢
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7.5 Andrew Wyeth. That
Gentleman. 1960. Tempera on
panel, 231ā2 ā«."4ā374 ×ā¬
Dallas Museum of Art.
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diluted with water and applied in a broad wash, painters who use it most commonly build up forms gradually with ļ¬ne hatching and cross-hatching strokes,
much like a drawing. Traditionally, tempera was used on a wood panel support
prepared with a ground of gesso, a mixture of white pigment and glue that
sealed the wood and could be sanded and rubbed to a smooth, ivorylike ļ¬nish.
A 20th-century painter who has cultivated a classic tempera techniqueā
although not on panelāis Andrew Wyeth. His painting That Gentleman shows
the luminous qualities of the medium at their best (7.5). Executed in a
restricted palette of earth tones, That Gentleman is one of a series of paintings
that Wyeth made of friends and neighbors around the farm where he lived in
Pennsylvania. Wyethās patient technique seems particularly suited to evoking
the digniļ¬ed presence of an old man staring into the shadows, remembering.
The painterās favorite detail was the battered pair of slippers, and he painted
a separate study of them alone. He thought they said all anyone needed to
know about the man, and that the rest of the painting was almost superļ¬uous.
A different approach to tempera can be seen in the work of Jacob
Lawrence. Lawrence said he was drawn to the āraw, sharp, roughā effect of
vibrant tempera colors. Cabinet Maker (7.6) is a wonderful image of a carpenter, the curves of his powerful organic form about to burst out of the geometric shapes that constrain him. He holds the symbol of his profession, the carpenterās square, which guarantees that his work will be true. Before him lie
more tools and a squared length of wood. At the outer edge of the carpenterās
square and elsewhere, Lawrence allows his own ruled lines to be seen, emphasizing that he too used a straightedge in his work, and that his painting too is
a well-made thing whose parts ļ¬t precisely together.
OIL
Oil paints consist of pigment compounded with oil, usually linseed oil. The oil
acts as a binder, creating as it dries a transparent ļ¬lm in which the pigment is
suspended. A popular legend claims that oil painting was invented early in the
15th century by the great Netherlandish artist Jan van Eyck, who experi172
ā¢ PA I N T I N G
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mented with it for this portrait (7.7). While we know now that Van Eyck did
not actually invent the medium, we still point to him as the ļ¬rst important
artist to understand and exploit its possibilities. From that time and for about
ļ¬ve hundred years the word āpaintingā was virtually synonymous with āoil
painting.ā Only since the 1950s, with the introduction of acrylics (discussed
later in this chapter), has the supremacy of oil been challenged.
When oil paints were ļ¬rst introduced, most artists, including Jan van
Eyck, continued working on wood panels. Gradually, however, artists adopted
the more ļ¬exible canvas, which offered two great advantages. For one thing,
the changing styles favored larger and larger paintings. Whereas wood panels
were heavy and liable to crack, the lighter linen canvas could be stretched to
almost unlimited size. Second, as artists came to serve distant patrons, their
canvases could be rolled up for easy and safe shipment. Canvas was prepared
by stretching it over a wooden frame, sizing it with glue to seal the ļ¬bers and
protect them from the corrosive action of oil paint, and then coating it with a
white, oil-base ground. Some painters then applied a thin, transparent layer of
color over the ground, most often a warm brown or a cool, pale gray.
The outstanding characteristic of oil paint is that it dries very slowly. This
creates both advantages and disadvantages for the artist. On the plus side, it
means that colors can be blended subtly, layers of paint can be applied on top
of other layers with little danger of separating or cracking, and the artist can
rework sections of the painting almost indeļ¬nitely. This same asset becomes a
liability when the artist is pressed for timeāperhaps when an exhibition has
been scheduled. Oil paint dries so very slowly that it may be weeks or months
before the painting has truly āset.ā
7.6 (left) Jacob Lawrence.
Cabinet Maker. 1957. Casein
tempera on paper, 301ā2 ā«."2ā122 ×ā¬
Hirshhorn Museum and Sculpture
Garden, Smithsonian Institution,
Washington, D.C.
7.7 (right) Jan van Eyck. Man in
a Red Turban (Self-Portrait?).
1433. Tempera and oil on panel,
131ā8 ā«."8ā101 ×ā¬
The National Gallery, London.
OIL ā¢
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A RT I S T S
JACOB LAWRENCE
1917ā2000
T
HE NAME āHARLEMā is associated in many peopleās
minds with hardship and poverty. Poverty Harlem
has always known, but during the 1920s it experienced a tremendous cultural upsurge that has come to
be called the Harlem Renaissance. So many of the
greatest names in black cultureāmusicians, writers,
artists, poets, scientistsālived or worked in Harlem at
the time, or simply took their inspiration from its intellectual energy. To Harlem, in about 1930, came a
young teenager named Jacob Lawrence, relocating
from Philadelphia with his mother, brother, and sister.
The ļ¬owering of the Harlem Renaissance had passed,
but there remained enough momentum to help turn
the child of a poor family into one of the most distinguished American artists of his generation.
Young Lawrenceās home life was not happy, but
he had several islands of refuge: the public library, the
Harlem Art Workshop, and the Metropolitan Museum
of Art. He studied at the Harlem Art Workshop from
1932 to 1934 and received much encouragement from
two noted black artists, Charles Alston and Augusta
Savage. By the age of twenty Lawrence had begun
to exhibit his work. A year later he, like so many others, was being supported by the W.P.A. Art Project, a
government-sponsored program to help artists get
through the economic void of the Great Depression.
174
Even this early in his career, Lawrence had established the themes that would dominate his work.
The subject matter comes from his own experience,
from black experience: the hardships of poor people
in the ghettos, the violence that greeted blacks moving
from the South to the urban North, the upheaval of
the civil rights movement during the 1960s. Nearly always his art has a narrative content or āstory,ā and often the titles are lengthy. Although Lawrence did paint
individual pictures, the bulk of his production was in
series, such as The Migration Series and Theater, some
of them having as many as sixty images.
The year 1941 was signiļ¬cant for Lawrenceās life
and career. He married the painter Gwendolyn
Knight, and he acquired his ļ¬rst dealer when Edith
Halpert of the Downtown Gallery in New York featured him in a major exhibition. The show was successful, and it resulted in the purchase of Lawrenceās
Migration series by two important museums.
From that point Lawrenceās career prospered.
His paintings were always in demand, and he was
sought after as an illustrator of magazine covers,
posters, and books. His inļ¬uence continued through
his teachingāļ¬rst at Black Mountain College in North
Carolina, later at Pratt Institute, the Art Students
League, and the University of Washington. In 1978 he
was elected to the National Council on the Arts.
Many people would call Lawrenceās paintings instruments of social protest, but his images, however
stark, have more the character of reporting than of
protest. It is as though he is telling us, āthis is what
happened, this is the way it is.ā What happened, of
course, happened to black Americans, and Lawrence
the world-famous painter did not seem to lose sight of
Lawrence the poor youth in Harlem. As he said, āMy
belief is that it is most important for an artist to develop an approach and philosophy about lifeāif he
has developed this philosophy he does not put paint
on canvas, he puts himself on canvas.ā1
Jacob Lawrence. Self-Portrait. 1977.
Gouache on paper, 23 ā«."13 ×ā¬
National Academy of Design, New York.
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Another great advantage of oil is that it can be worked in an almost inļ¬nite range of consistencies, from very thick to very thin. Van Eyck, for example,
did much of his painting in glazesāthin, translucent veils of color applied over
a thicker layer of underpainting. Though less often used today, glazing remained
an important technique in oil painting through the 19th century. Jean-AugusteDominique Ingresā exquisite portrait of the Countess of Haussonville shows the
smooth, ļ¬awless ļ¬nish and glowing color that glazes can produce (7.8).
Painting as practiced by artists such as Van Eyck and Ingres is a slow and
time-consuming affair. The composition is generally worked out in advance
down to the least detail, then built up methodically, layer after layer. A classic
procedure is to complete the entire painting ļ¬rst in black and white, a technique called grisaille (gree-ZYE), from the French for āgray.ā Colored glazes
are then ļ¬oated over the monochrome image, whose lights and darks show
through as modeling.
Artists who favor a more spontaneous approach may work directly in
opaque colors on the white ground, a technique sometimes called alla prima
(AHL-lah PREE-mah), Italian for āall in one go.ā We can see the difference in
effect by comparing Ingresā portrait with a painting executed some forty years
later, Berthe Morisotās Girl Arranging Her Hair, also known as The Bath (7.9).
While Ingresā brush strokes are nowhere to be seen, Morisotās bold, slashing
brush strokes are an important part of her style. In places the paint is layered
quite thickly, a technique called impasto, from the Italian for āpaste.ā At its
7.8 (left) Jean-AugusteDominique Ingres. La Comtesse
dāHaussonville. 1845. Oil on
canvas, 517ā8 ā«."61ā363 ×ā¬
The Frick Collection, New York.
7.9 (right) Berthe Morisot. Girl
Arranging Her Hair (āThe Bathā).
1885ā86. Oil on canvas, 353ā4 ā«×ā¬
281ā2".
The Sterling and Francine Clark Art
Institute, Williamstown,
Massachusetts.
OIL ā¢
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for your sneakers, running to answer the telephone. She takes her memories
of moments like these and abstracts them into lively, bulging, cartoon shapes.
She cuts the shapes from wood, covers them in canvas, and paints each one
so that it has a character all its own.
Looking at The Lowdown, we can spot a head with a watchful eye, a
raised arm, circular forms on a path, and small, scattering white forms. Are
we . . . bowling? Possibly. And perhaps there are other games going on as well.
The elements of Murrayās giddy compositions are like a toddlerās oversize puzzle pieces, except that they donāt interlock. Instead, Murray herds them into a
tottering unity, like a juggler keeping an impossible number of objects in the
air. The paintings suggest a life that is a bit chaotic, but also a lot of fun.
7.11 Elizabeth Murray. The
Lowdown. 2001. Oil on canvas on
wood, 7'4" ā«."2'8 ×ā¬
Courtesy PaceWildenstein Gallery,
New York.
WATERCOLOR
Watercolor consists of pigment in a vehicle of water and gum arabic, a sticky
plant substance that acts as the binder. As with drawing, the most common
support for watercolor is paper. Also like drawing, watercolor is commonly
thought of as an intimate art, small in scale and free in execution. Eclipsed for
several centuries by the prestige of oil paints, watercolors were in fact often
used for small and intimate works. Easy to carry and requiring only a glass of
water for use, they could readily be taken on sketching expeditions outdoors
and were a favorite medium for amateur artists. Yet watercolors can be large
and/or painstakingly executed as well, and we should bear in mind that the
entire painting tradition of East Asia, with its monumental landscapes and
lengthy scrolls, was created with water-based colors.
The leading characteristic of watercolors is their transparency. They are
not applied thickly, like oil paints, but thinly in translucent washes. While
opaque white watercolor is available, this is reserved for special uses. More
usually, the white of the paper serves for white, and dark areas are built up
through several layers of transparent washes, which take on depth without ever
WAT E R C O L O R ā¢
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becoming completely opaque. John Singer Sargentās Mountain Stream (7.12) is
a perfect example of what we might think of as āclassicā watercolor technique.
Controlled and yet spontaneous in feeling, it gives the impression of having
been dashed off in a single sitting. The white of the paper serves for the foam
of the rushing stream, and even the shadows on the opposite shore retain a
translucent quality.
Elizabeth Peyton makes even greater use of white paper in this watercolor
of her friend Tony asleep in a hotel bed (7.13). White sheets and white pajamas
are indicated by their contours and shadows in a dance of pale, slurpy brush
strokes. Peyton allows, and perhaps encourages, the color to run down in drips,
like rain running down a windowāa good day to sleep in.
GOUACHE
7.12 John Singer Sargent.
Mountain Stream. c. 1912ā14.
Watercolor and graphite on paper,
133ā4 ā«."12 ×ā¬
The Metropolitan Museum, New York.
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ā¢ PA I N T I N G
Gouache is watercolor with inert white pigment added. Inert pigment is pigment that becomes colorless or virtually colorless in paint. In gouache, it
serves to make the colors opaque, which means that when used at full
strength, they can completely hide any ground or other color they are painted
over. The poster paints given to children are basically gouache, although not
of artistās quality. Like watercolor, gouache can be applied in a translucent
wash, although that is not its primary use. It dries quickly and uniformly and
is especially well suited to large areas of ļ¬at, saturated color. For example,
Indian paintings such as 3.15 and 4.42 are done in opaque watercolor,
although of a formula slightly different than gouache. The Cuban painter
Wifredo Lam exploits both the transparent and opaque possibilities of
gouache in The Jungle (7.14). Human and animal forms mingle in this fascinating work, which contains references to SanterĆa, a Caribbean religion that
combines West African and Roman Catholic beliefs.
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7.13 (above) Elizabeth Peyton.
Pierre (Tony). 2000. Watercolor on
paper, 16 ā«."02 ×ā¬
Collection Lorenzo Sassoli Bianchi.
Courtesy GBE (Modern) New York.
7.14 (left) Wifredo Lam. The
Jungle. 1943. Gouache on paper
mounted on canvas, 7'101ā4" ā«×ā¬
7'61ā2".
The Museum of Modern Art, New
York.
ACRYLIC
The enormous developments in chemistry during the early 20th century had an
impact in artistsā studios. By the 1930s, chemists had learned to make strong,
weatherproof, industrial paints using a vehicle of synthetic plastic resins. Artists
began to experiment with these paints almost immediately. By the 1950s,
chemists had made many advances in the new technology and had also adapted
it to artistsā requirements for permanence. For the ļ¬rst time since it was developed, oil paint had a challenger as the principal medium for Western painting.
A C RY L I C ā¢
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7.15 David Hockney. Mount Fuji.
1972. Acrylic on canvas, 60 ā«."84 ×ā¬
The Metropolitan Museum of Art,
New York.
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ā¢ PA I N T I N G
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These new synthetic artistsā colors are broadly known as acrylics,
although a more exact name for them is polymer paints. The vehicle consists
of acrylic resin, polymerized (its simple molecules linked into long chains)
through emulsion in water. As acrylic paint dries, the resin particles coalesce
to form a tough, ļ¬exible, and waterproof ļ¬lm.
Depending on how they are used, acrylics can mimic the effects of oil
paint, watercolor, gouache, and even tempera. They can be used on both prepared or raw canvas, and also on paper and fabric. They can be layered
into a heavy impasto like oils or diluted with water and spread in translucent
washes like watercolor. Like tempera, they dry quickly and permanently.
(Artists using acrylics usually rest their brushes in water while working, for if
the paint dries on the brush, it is extremely difļ¬cult to remove.)
David Hockneyās Mount Fuji illustrates two very distinct ways of working
with acrylics (7.15). The tranquil blue background with its view of the famous
mountain was created by diluting the paint to the consistency of a dye or stain
and pouring it onto unprimed white cotton canvas, which partially absorbed
the color. The vase of ļ¬owers and the ledge in the foreground were painted
with brushes in a fairly heavy impasto.
Hockney presents us with an enchanted touristās view of Japan, focusing
on a traditional picturesque sight. From Japan itself, however, comes quite a
different sort of image, Takashi Murakamiās The Castle of Tin Tin (7.16).
Murakami uses yet another technique that acrylic paints facilitate: airbrushing, in which diluted paint is sprayed onto a surface. Here, an airbrush was
used to create the ļ¬at silver background, but the technique can also produce
ļ¬ne, detailed images. Murakamiās style and subject matter are indebted to the
wildly popular Japanese animated cartoons and feature-length ļ¬lms known as
anime. In Murakamiās hands, however, the large eyes of anime characters stare
out at us from strangely colorful mushrooms and mutating organic forms.
Murakami also links his work to what he views as the traditional Japanese
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preference for ļ¬atness, as opposed to the longtime Western obsession with
modeling and depth. To see what he means, compare The Castle of Tin Tin with
Toshusai Sharakuās portrait of the famous actor Otani Oniji (8.4).
7.16 Takashi Murakami. The
Castle of Tin Tin. 1998. Acrylic on
canvas on board, 10 ā«.'01 ×ā¬
Courtesy Blum & Poe, Los Angeles,
and Takashi Murakami/Kaikai Kiki.
BLURRING THE BOUNDARIES
Like other traditional media, painting has been pushed in new directions by
younger artists eager to stake out fresh territory to explore. This chapter ends
by looking at two ways in which the practice of painting has been transformed
by artists questioning its boundaries, both the boundary between painting and
life, and the boundaries between painting and other media.
Collage
In representational painting, objects from the real world are transposed into
art by the hand of a painter, who creates a likeness. This seems so basic that
we rarely even consider it. Yet at the beginning of the 20th century this
assumption received a shock from which it never recovered, a jolt that opened
up an entirely new relationship between art and life. In the hands of two
extraordinary artists, objects from the real world passed directly into art without any transformation at all. The artists were Pablo Picasso and Georges
Braque, and the technique they pioneered is known as collage.
Collage is a French word that means āpastingā or āgluing.ā In art, it refers
to the practice of attaching actual objects such as paper or cloth to the surface
of a canvas or other support, as well as to the resultant artwork. It was Pablo
Picasso, in the spring of 1912, who ļ¬rst used the technique, pasting a piece of
patterned oilcloth onto a painting of a still life. But the idea lay fallow until
BLURRING THE BOUNDARIES ā¢
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cially the white world. āA train was always something that could take you
away and could also bring you to where you were,ā the artist explained. āAnd
in the little towns itās the black people who live near the trains.ā2
More recently Fred Tomaselli has been breathing new and strange life
into collage with works such as Head (7.19). On a black ground, Tomaselli has
assembled photographic images of ļ¬owers, birds, insects, and body parts to
form a human head seen in proļ¬le. Images of noses cluster around the nose
region; images of mouths swarm toward where a mouth would be. A thick
layer of clear resin seals the pasted images and provides a surface for painted
additions such as the colored planets in the background and the branching
7.18 (above) Romare Bearden.
Mysteries. 1964. Collage, polymer
paint, and pencil on board, 111ā4 ā«×ā¬
141ā4".
Courtesy Museum of Fine Arts,
Boston.
7.19 (left) Fred Tomaselli. Head.
2002. Photocollage, gouache,
acrylic paint, and resin on wood
panel, 11 ā«."11 ×ā¬
Courtesy James Cohan Gallery, New
York.
BLURRING THE BOUNDARIES ā¢
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form that grows outward from the eye, like a root system reaching hungrily
into the universe for nourishment. Like most of Tomaselliās work, Head evokes
both mystical visions and drug-induced hallucinations. In both, the altered
mind sees beyond everyday appearances.
Off the Wall!
7.20 Polly Apfelbaum. Big
Bubbles. 2001. Synthetic velvet,
fabric dye; diameter
approximately 18'; 1,040 separate
pieces.
Courtesy DāAmelio Terras Gallery,
New York.
184
ā¢ PA I N T I N G
However adventurous the collages of Picasso, Bearden, and Tomaselli may be,
they leave certain traditional aspects of Western painting unchallenged. All
three are ļ¬at, rectangular surfaces, for example. And all three are portable objects designed to be hanged on a wall for viewing. Contemporary artists have
pushed at these formal boundaries as well, making paintings that break out of
the traditional rectangular frame or even leave the wall altogether. We looked
at the work of one such artist earlier in this chapter, Elizabeth Murray, whose
paintings consist of clusters of shaped canvases (see 7.11).
Like Elizabeth Murray, Polly Apfelbaum also paints on individual elements that she then arranges in clusters. The support she favors is not canvas
or paper, however, but white synthetic velvet; the paint she uses is not oil or
watercolor, but fabric dye; and she arranges the elements not on the wall, but
on the ļ¬oor (7.20). Big Bubbles is a radiating, circular composition that consists of a single shape repeated again and again. Looking to anchor Big Bubbles in the world of art, we might compare it to the mosaics that often blanket
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the walls and ceilings of a mosque (see 3.3), or to the circular stained glass
windows of medieval cathedrals (see 15.23), or to a mandala, a circular diagram of a cosmic realm (see 5.7). All of these forms suggest ways of imagining inļ¬nity.
Apfelbaum would probably not object to our thinking about Big Bubbles
in these termsāshe has said that she tries to keep the content of her work indirect, so that viewers can bring their own experiences to it. Her titles, however, often hint at what she herself had in mind. Bubbles turns out to be the
name of one of the Powerpuff Girls, an animated cartoon series about a trio
of adorable kindergarteners who happen also to be superheroines. Armed with
this information, we could see Apfelbaumās radiant form as gigantic puff. We
could also imagine it as a ļ¬ower or a ļ¬rework in celebration of strong female
role models, including perhaps the many women artists who have recently
claimed a place within the art establishment. Go, Powerpuff Girls!
Polly Apfelbaum began her artistic career as a sculptor. Perhaps because
of this, critics sometimes refer works such as Big Blossom as ļ¬oor sculpture,
even though they are most clearly linked to the 20th-century tradition of nonrepresentational painting. We might think of her as a sculptor who has colonized territory that once belonged exclusively to painting. Our next artist,
Matthew Ritchie, has taken the opposite journey, beginning as a painter and
then reaching out to annex the third dimension, which once belonged exclusively to sculpture. Ritchieās works may begin on the wall, but they are likely
to sprawl across the surface, invade both the ļ¬oor and the ceiling, and even
spawn independent three-dimensional components, as here in Parents and
Children (7.21)
Ritchieās chosen ground is sintra, a thin, lightweight, easily cut plastic material. Sintra is easily bent and molded, allowing Ritchieās works to cascade
down the wall, curve onto the ļ¬oor, and continue out into the room. As here,
he often supplements painted elements by drawing or writing directly on the
wall. Ritchieās works are visual epics inspired by science, including the far
7.21 Matthew Ritchie. Parents
and Children, 2000. Acrylic
marker on wall, enamel on sintra;
dimensions vary with installation.
BLURRING THE BOUNDARIES ā¢
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frontiers of contemporary research and theory. His compositions seem to
generate themselves according to their own laws, growing like crystals over the
centuries or evolving like organisms across generations. Here, sinuous elements coil like dragons or swamp vegetation outward from a raging vortex, ļ¬ring off diagrams of molecular structures and mysterious equations. On the
ļ¬oor sits what looks like a topographical fragment, its colors interlocking as
precisely as camouļ¬age or countries on a map. Is this the āchildā of the cosmic
āparentā? Ritchie was once asked what message he hoped that viewers might
take away from his work. His response? āLife is as complicated as it appears.ā3
This brief survey should have demonstrated that the various painting
media and the artists who use them yield endless possibilities. It would be difļ¬cult to say which comes ļ¬rstāthat artistās imagery or the material. Did the
ļ¬rst cave artist have the impulse to paint something and search about for a
material with which to do it? Or did the cave artist ļ¬nd some pigmented material and then speculate about what would happen if the substance were
applied to a wall? The answer is not important, but the two aspectsāidea and
mediumāfeed upon each other. No visual image could be realized without the
medium in which to make it concrete. And no medium would be of any consequence without the artistās ideaāand the compelling urge to paint.
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