Wanda M. Corn

I was racking my brains and trying to remember where I first came across the art of Andrew Wyeth. I think it was in a Life Magazine ...maybe in early 60's and it certainly featured Christina's World. Since then, I've been very much aware of his work and have observed it in books and catalogues. I guess I have seen some of his originals in the great American Museums but I'm not sure. Initially, I had that sense of deja vu that I already had a copy of this book somewhere on my shelves. But that is not the case. Though I do have a book of his watercolours ...and I'm much less enamoured with these than the paintings in the current book. (These mainly seem to be done in tempera). The pictures are accompanied by some really interesting text...especially about Andrew himself but also about his father NC Wyeth. And I really like the work of the latter. (And have just finished a book about him and his art).
After reading the essays and extended extracts of Andrew's words about his art I've started questioning myself. Had I just taken a liking to his work because it was "realistic"; (like all the blades of grass showing in Christina's world) or was it the unusual angles and use of blank space? I'm certain that I had not read all the meaning into the works that Andrew tried to impart. But it's made me look for greater depth in his work and to look for things like the white shell representing death on a casket...or open doors inviting exploration. etc. There is not much there about technique. But I discovered that Andrew hated being watched while he painted and was rather secretive and solitary in his habits. (I recall that a rathe risque series of nudes emerged after he had died......and there was some speculation that his wife had not been aware of these). So, anyway, not much on technique except that he'd come upon tempera via his brother in law in the 1930's and seemed to have adopted it with relish. In this book and somewhere before I remember him saying that he's spent months working on the background for Christina's world and when he came to putting in a pink shade on Christina's shoulder, it nearly blew him across the room. I found that fascinating.
Where the book is good is the way it reveals Andrew as being out of step with the successful American artists of his time with their abstract expressionism. Yet he stuck to his guns and did his own thing and still managed to be successful. An interesting person, a great artist and a nice book about him. I give it four stars. (Now a little dated and the colour of the pictures seems a little drab.....then maybe that's the way they are!!).… (mer)