Art I'm Seeing #44

Since 9/11/2001, there has been a noticeable dearth of grand or even quality art exhibitions in the major museums of the middle Atlantic region. Insurance companies have made it nearly impossible for museums to afford to cover the loss cost of works, and internationally European museums have been skiddish about loaning works to shows in US museums. As a result, museums like the Philadelphia Museum of Art, The Walter's Gallery (Baltimore), the Baltimore Museum of Art, and the Corcoran Gallery of Art (Washington, D.C.) have only been able to mount smaller and often less interesting exhibits.

"Apples," c. 1925
Charles Demuth
Sheldon Museum of Art, Lincoln, Nebraska.

But there is a delightful exception presently at the Baltimore Museum of Art. Cézanne And American Modernism is an example of a really interesting show that doesn't rely on images from the European Museums, but presents the influences of the Old World on the New with lots of beautiful works and wonderful concepts.
And one of my favorite included influenced artists is Marsden Hartley. There was a retrospective of his works at the Phillip's Collection in Washington, D.C. in the summer of 2003,

"Still Life," 1912
Marsden Hartley
Weisman Art Museum,
Minneapolis, Minnesota

and it inspired me to read his autobiography, "Somehow The Past." Between the two events I had a rather dour impression of the artist; and yet, the works in this exhibition really demonstrated how much more complex an artist he was.

"Peaches In A White Bowl," 1910
Charles Sheeler
private collection

I've shared three examples of artists whose still lifes were influenced by Cézanne from the exhibition. Of course, Cezanne's other two major themes, "bathers," and "landscapes" are also generously represented in this show. Be all means check it out, you will have until May 13th to see it here, and then you'll have to catch it in Phoenix.

Art I'm Seeing #5

TannerImage
Originally uploaded by Randuwa.

Henry Ossawa Tanner (1859-1937) might actually be the first great African American artist. He was the first to attend the Pennsylvania Academy of Art in Philadelphia (at a time when it was not only the oldest but the most prestegious art school in America). He studied under Thomas Eakins, for one. And while eagerly claimed as an American artist, he did spend much of his life as an ex-patriot in France (as have many of our greatest artists!). Nevertheless, I fell in love with his art the first time I happened upon it.

Tanner presents ideas with such an expressive brush. To stand before one of his canvases is to stand beside him and feel his passion. And held in the cusp of this power is his use of paint to convey emotion by creating images in which light itself is the subject's subject. In my own limited art, I love the play of light upon images, no wonder Tanner was so easily able to grab my heart.

So it was Sunday past that I drove up to Baltimore to tour the Baltimore Museum of Art's exhibit: "Henry Ossawa Tanner and His Influence in America". I had no idea what to expect. And as those of you who either know me, or have read my thoughts on art, it's not my nature to be disappointed. Yet, I really did feel let down by the exhibit.

Hardly fitting two rooms, the majority of the works presented were not those of Tanner. Out of the approximately 35 images, only 6 were done by Tanner -- 1 from the BMA's holdings: a portrait (and promised donation) of the artist's father: Subject fascinating, execution so-so; 1 from a private collection (small and content significant, but stylistically a bit player); and 4 from the collection of the Des Moines, Iowa Arts Center.

Tanner is such an amazing artist. His influence is leagion. And this attempt to convey that influence....well, disappointing. NOT disappointing were the works themselves, even 6 Tanners is better than none. And now I have no reason to travel to Des Moines!