Trust Your Eyes

More than any other artist, Otto Dix made every stop on the timeline of German modernism, including Realism, Dada, Surrealism, Expressionism and Visionary. Dix managed to do this all in one decade, the Roaring ’20s. Although Dix dabbled in many different art movements, the work he is most known for is his contributions to New Objectivity. New Objectivity was a challenge to Expressionism. It reflected an unsentimental reality instead of the more inward-looking, abstract or psychological, that were characteristic of Expressionism. Dix once stated, "If one paints someone's portrait, one should not know him if possible. No knowledge. I do not want to know him at all. I want only to see what is there, the outside. The inner follows by itself. It is mirrored in the visible." Dix philosophy is very prominent in his paintings, by his use of subtle but effective details, he was able to portray someone’s inwardness without looking inward at all.

Being affected by his time serving in the German army, Dix often painted gruesome war scenes and unsettling depictions of Germany after the war. Once Dix became a leader in the New Objectivity movement, he mainly focused on portraits.In this collection of art by Otto Dix, the viewer will be taken through a timeline of Dix critical depictions of Germany throughout the 1920’s.

Die Skatspieler (The Skat Players), 1920

Otto Dix, The Skat Players, bpk, Berlin / Nationalgalerie, Staatliche Museen, Berlin, Germany / Photo: Joerg P. Anders / Art Resource, NY / Dix, Otto (1891-1969) © ARS, NY

Nationalgalerie, Staatliche Museen, Berlin

      This disfigured painting shows three wounded war veterans in the middle of a game of Skat. It is quite ironic that this three-handed card game was once favored by the Krupps, German manufacturers of the types of weapons that misfired the men shown here.  Using elements of collage within his painting Dix was able to portray that these men are clearly wounded war veterans. For example, Dix combined oil painting, real newspapers and playing cards. The artificial jaw of one veteran is adorned with metal foil and the blue jacket is made of a cheap fabric made out of paper that was produced toward the end of the war as the country wrestled with material shortages.  During the Weimar Republic, Germany was in a time of denial and looking away from all the painful realities of post-war Germany. Dix refused to look away, and painted the truth. 

The Salon I, 1921

Otto Dix (German, 1891-1969).

 The Salon I, 1921. Oil on canvas. 33 7/8 x 47 7/16 in. (86 x 120.5 cm). Kunstmuseum Stuttgart.

© 2006 Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn

In this painting Dix portrays four aged prostitutes sitting around a table waiting for business. Each woman is decorated in cheap jewelry and laced clothing in attempt to hide their old age. One woman in particular looks especially eager for business that will most likely not come. Dix is presenting the question, what opportunities are there for aging prositutes in Germany? This painting is just one of Dix's many depictions of prostitutes during the Weimar Republic era. 

 The Business Man: Max Roesberg, 1922

Otto Dix

The Businessman Max Roesberg, Dresden 1922, Metropolitan Museum of Art

© 2010 Artists Rights Society (ARS), New York/VG

Bild-Kunst, Bonn

This 37 x 25 inch oil on canvas painting is a portrait of Max Roesberg, a successful business man in Dresden Germany. This portrait catches Roesberg in the middle of his work day standing behind a brown wooden desk in the midst of a barely decorated office. Subtle details such as the clock behind him and order forms stiffly held in his left hand help the viewer understand that Roesberg is at work. Although Roesberg was an appreciator of the arts, Dix portrayed him as a all work no play type of man. This painting is a good example of the New Objectivity because it shows only one side of Roesberg, which is a serious business man.

Portrait of Dr Heinrich Stadelmann, 1922 

Portrait of Dr Heinrich Stadelmann, 1922 (oil on canvas), Dix, Otto (1891-1969) / Art Gallery of Ontario, Toronto, Canada / The Bridgeman Art Library

In this painting Dix turned the tables and portrayed his own psychological examination of Dr. Stadelmann.  Dix portrays this hypnotist specialist as a victim of his own hypnotic spell. His bulging eyes and tightly squeezed fists give this painting a tense and morbid feel. Dix made this large-scale oil painting during a time when he was documenting conditions in the pathology department of a German hospital. After seeing many patients distraught with the effects from WWI, Dr. Stadelmann is hypnotized himself by hearing so many heart wrenching stories. 

Three Prostitutes On The Street, 1925

Three Prostitutes in the Street 1925 Otto Dix (1891-1969 German) Tempera on plywood Private Collection

This painting draws attention to the ambiguous figure of the New Woman in Weimar Germany. Dix depicted women of all ages and types who had turned to prostitution in the street or in brothels to survive during the economic downfall of Germany. He painted his subjects in a theatrical style, heavily made up and eroticized, yet he did so with sensitivity and empathy. In this painting Dix is pointing out the fact that women who judged prostitutes where no different from the prostitutes themselves. The name of this piece is Three Prostitutes on the Street, but ironically only two real prostitutes are present in this painting. 

Portrait of the Journalist Sylvia Von Harden, 1926

OTTO DIX

Portrait of the journalist Sylvia von Harden, 1926

CNAC/MNAM/Dist. RMN-Grand Palais / Art Resource, NY / Dix, Otto (1891-1969) © ARS, NY

Musée National d'Art Moderne, Centre Georges Pompidou, Paris

Dix often found his painting subjects on the street, he wanted to portray the truth of Germany through it's people. As Dix was walking down the street he was bemused by Journalist Sylvia von Harden. Dix exclaimed that he must paint her and she replied, "You want to paint my lacklustre eyes, my ornate ears, my long nose, my thin lips. You want to paint my short legs, my big feet - things that can only frighten people and delight no one?" Dix was fascinated by Harden's critical depiction of herself, and decided that this portrait would be a representation of a generation not concerned with outward beauty of a woman but her psychological condition. 

-Molly Holland

From Influence to Identity

There are groups, and there are individuals.  Then, there are groups of individuals.  Finally, there are individuals who stand alone in a group of individuals.  These icons are known as individual[ists].  And it is to the [ists] part of these [individuals] that our attention is turned to today.  As the work of Richard Pousette-Dart demands an undivided focus for the work of such a singular artist.

            Born into the arena of Abstract Expressionism—that is, the spiritual as expressed through an abstract subconscious—these post WWI oddballs thrived from the wellspring of post-war animosity, with Pousette-Dart fitting in well.  Yet at the same time, not well at all.  An oddball in the mix of oddballs—an ugly goose in a culture of ugly ducklings—Pousette-Dart’s strictly individual style was what made a name for himself.  A theft painter, Pousette-Dart’s pulling of his here-and-there influences to form a style of irreverence made him stand apart from fellow Expressionists whose painting was strictly colloquial.

            Nevertheless, it is all too easy in the modern culture of heightened individualism and self-interest to catch oneself mid-praise for the narcissism of an artist.

            And this is true with Pousette-Dart’s work.  Yet however self-aggrandizing the work may be in terms of the searching of the self for truth—self-interest is by no means the only truth he offers the viewer.  For however agreeable the Abstract Expressionist movement was to Pousette-Dart, Pousette-Dart stood out not only as iconoclast, but also as a leading forefather of the Abstract Expressionist movement.

            For while it is made clear to us viewers that Pousette-Dart’s work stands on its own as representation of the fortuitous triumph found in the realm of individual expression, Pousette-Dart never strays far from his roots in cubism, primitivism and Abstract Expressionism.  So it is to this examination of relationship this curatorial is dedicated.  That is, the unraveling of the relationships between influence, ideation and individual, as witnessed in the work of Richard Pousette-Dart.

East River, Richard Pousette-Dart, 1939, Oil on Masonite, 2005.483

            Cubism plays a heavy influence in this piece.  Pousette-Dart has admitted to Picasso’s influence on his work, which is especially prevalent in this still vulnerable stage of Pousette-Dart’s early work.  This piece is a landmark to Picasso’s influence.  Seen specifically with the distortions of shapes and images familiar to the eye—the piece also reminisces one of Picasso with the dark subject matter, and dismal coloring.  Yet however dedicated the piece may seem to Picasso’s Cubism, more influences lie under the surface of East River.  Primarily, primitivism.  Which, simply put, is an older form of spiritual art which harkens the mind to subconscious truths as embedded in the innate.  In East River, this is witnessed in tribal like symbolism, strange disturbing shapes and abstracted landscapes.

Autumn Rhythm (Number 30), Jackson Pollock, 1950, Enamel on Canvas, 57.92

            Probably the most famous of the Abstract Expressionists for his uncontrolled style and irrational lifestyle, Jackson Pollock led the Abstract Expressionists with lesser-known Pousette-Dart by his side.  Autumn Rhythm is extraordinary.  For the heightened moment of self-expression is captured upon this canvas in all of its messy glory.  Yet whatever fame or recognition Pollock received are pale in comparison to Pousette-Dart’s paintings.  For even Pollock’s most imaginative and well-known creation wither under the influence and individuality of any of Pousette-Dart’s work.  For, as witnessed in Autumn Rhythm, Pollock is no match for Pousette-Dart’s higher expression formed from more educated influences, though the piece is a higher form of expression in itself.

Seasons of Light, Richard Pousette-Dart, 1942, Gouache, Watercolor, Ink on Paper, 1991.476.2

            Seasons of light, for example, may trump all other Abstract Expressionist paintings as the most dense, and full of subconscious meanings.  Pousette-Dart really lets himself go here, as he enters into the darkest recesses of his mind to find out what innate truths live there.  This is a painting upon the horrors of war.  Yet not with traditional signs of war, such as screaming children or bloodied soldiers.  Rather, Pousette-Dart focuses on what effects violence has upon the tender subconscious of the mind, representing the terrors within with bright colors, swirling images, splattered paint, and in general, a fecundity of color and symbolism.  Pulling together his influence in primitivism and Picasso to boost his own blatant self-expression, this piece boosts a step forward in Pousette-Dart’s individual style.

Lois Long, Richard Pousette-Dart, 1953, Gelating Silver Print (Photograph), 1996.169

            Yet soon Pousette-Dart returns to a darker expression.  One could say this is reminiscent of Picasso again with its darker themes and dreary lighting.  But I think what we find here is Pousette-Dart exploring a new medium of expression with the same goal of intent.  No longer subject to primitivism or distortions, this painting is alternatively freed, in a sense, by it’s simple, yet weighty statements.  Though we cannot know for certain what these statements are, we draw from our knowledge of the author.  The picture assembles the pieces for us, in a dismal scene centered on a lonely woman, a depressed cat, an eerie photograph and a hopeful glimmer from outside sunlight.  It seems as though Poussette-Dart were using this new medium as a break to figuratively paint a portrait as to what our deepest and most abstract desires are.  Let the pieces here fall into places of understanding.

Path of the Hero, Richard Pousette-Dart, 1950, Acrylic on Canvas, 1987.3

            Pousette-Dart returns to his influences here, but not as urgently as in his younger paintings.  For in the Path of the Hero the painter has found the middle ground between using Primitivism and Cubism to form his own, unique style of expression.  For example, look at the circles.  Or are they spheres?  We are witnessing the real life separation from influence to identity here.  Secondly, the odd shapes, and geometry recollects again to primitivism influence, yet is restrained here as Pousette-Dart twists it for his own, individual, understanding and expression of the subconscious mind.

- Holton Winburne

The Artist and the Muse

The Role of the Female Muse in Art History.

20th century Realist painter, Andrew Wyeth claimed that "The difference between me and a lot of painters is that I have to have a personal contact with my models.... I have to become enamored. Smitten"(Gardner 2006). Few artists have come close to Wyeth's mere obsessive commitment to the portrayal of his muse, Helga Testorf. However, many artists in history have avoided banality and made their fame by adopting one or many female muses and riding the steady flow of inspiration that springs from them. These women are sometimes noticed out of a crowd, their being speaking some kind of life into the artist's vision. More often than not, these muses become relationally tied to the artist either by virtue of their inspirational presence or by nature of the initial attraction between them. Famous artists like Matisse, Wyeth, Manet, Whistler, Botticelli,  and Picasso were all breathed into by some hypnotizing female presence at one point in their career. Their muses mere existence brought life to the paint on the canvas and provides the perfect tension in the space between them and the artist to create compelling and content-rich pieces for the artist to display. 

Henri Matisse, Laurette in Green and Black. 1916. Oil on Canvas; 28 3/4 x 21

The Metropolitan Museum of Art

Laurette in Green and Black by Henri Matisse features Laurette (last name unknown), Henri's muse for an extended period during his career. Laurette has also been titled "The Italian Woman", but not much else is known about her. Henri Matisse did many paintings of Laurette as it was characteristic of him to become asphyxiated with his models. She was said to be extraordinarily ordinary, that not much was special about her. For some reason, her presence was profitable to Matisse. His paintings of her are among his most famous for their exotic yet comfortable appeal. Laurette's restful pose, vulnerable face, and loosely hanging robe speak of the intimacy between her and the artist. She appears like she is floating on a pink cloud in an atmosphere like a vision. This vision-like depiction of Laurette fills in the mysterious space between her and the artist with nearly tangible emotions of romance and intimacy. 

James Abbott McNeil Whistler, Symphony in White, No. 1. 1861-62. Oil on Canvas: 215 cm x 108 cm 

The National Gallery of Art in Washington D.C.

Featured in James Abbott McNeil Whistler's Symphony in White is Joanna Hiffernan. Joanna and Whistler shared a six year relationship during which Whistler fell in love with Joanna's spirit. According to Elizabeth Robbins who wrote The Whistler Journals, "She was not only beautiful. She was intelligent, she was sympathetic. She gave Whistler the constant companionship he could not do without (Robbins 1921). Joanna is the subject of many of Whistler's most famous paintings, including Symphony in White No. 1. Her elegance and grace are never absent in his depictions of her. In fact, Joanna's beauty seems to be perfectly suited for Whistler's ideas of beauty in most other things. Her soft, kind face and angelic persona aligns with the aura of many of Whistler's landscapes and still life paintings. Given the romance between the two, it is fair to assume that Joanna's persona became the inspiration for Whistler's painting style. 

Andrew Wyeth, Braids. 1977. Tempura. 

National Gallery of Art in Washington D.C. in 1987-89. Currently not on display. 

Helga Testorf was a German immigrant, neighbor and mistress to Andrew Wyeth, American Realist painter. He and Helga are famous for one of the best kept, yet throughly documented affairs in history. Andrew Wyeth painted about 240 depictions of Helga in a series that is now known as The Helga Pictures. Helga is nude in most, and provocatively posed in others. The series was hidden from the public, including both of their spouses and families. The picture featured above entitled Braids captures a less ravishing Helga. Her gaze is soft and restful, her hair humbly braided, and her clothing completely covers her. This painting alludes to how developed the pair's romance was. It was not only characterized by carnal passion, but by a fulfilling companionship. Helga's willingness to be portrayed in such a pure light demonstrates the depth of their relationship. It appears, from this painting, that the two really allowed themselves to be seen by one another. The 240 pictures of Helga are Wyeth's crowning achievement in art. It seems that the existence of Helga brought his talent to life. 

 Pablo Picasso, Le Reve (The Dream). 1932. Oil on canvas; 130 cm x 90 cm. Private Collection of Steven A. Cohen.

Marie-Thérèse Walter sits as the subject of Picasso's Le Reve. Marie-Thérèse and Picasso began their affair when Marie was only 17 and Picasso was 45, married, and father of a son. Marie is painted as a vision of youth and sexuality in Le Reve. Picasso undoubtedly indulged in the opportunity to be companioned with a much younger, more beautiful woman. Many of his paintings and etchings of her feature flowers, a symbol of youthful and carefree beauty. Her blonde hair is usually complemented by bright colors. Together Picasso and Marie had a child, but soon after the birth, Picasso fell in love with another woman and began using her as a source of inspiration instead. A devastated Marie hung herself soon after. However short lived, Marie's presence in his life marks a significant shift in his style.

 Sandro Botticelli, Portrait of a Young Woman. 1476. Tempura on wood; 47.5 x 35 cm. Staatliche Museen zu Berlin, Gemäldegalerie, Berlin, Germany 

Sandro Botticelli portrays Simonetta Vespuci in Portrait of a Young Woman. Botticelli was a Renaissance painter and one of his primary concerns was symmetry and harmony in his paintings. He achieved this by portraying the "ideal" woman. This ideal is fulfilled by perfect proportions in body and face. The "ideal" woman that appears again and again in his paintings, Simonetta Vespuci, embodied the type of harmonious beauty that characterized the Renaissance art scene. Botticelli used Simonetta for The Birth of Venus and many of his other world-renowned pieces.

 Edouard Manet, Victorine Meurant. Around 1862. Oil on canvas; 42.9 x 43.8 cm

Museum of Fine Arts, Boston

Victorine Meurant became the face of scandal in Edouard Manet’s 1863 painting Olympia. However, she has also been portrayed in a number of Manet’s other works. She appears nude in only two of them. Despite popular opinion at the time, Victorine was not a prostitute. In fact, she herself was an artist. Likely, she and Manet inspired each other, and Victorine probably stuck around to model for Manet out of appreciation for his work. As soon as she began to blossom in her own style, Manet and her parted ways. Given the professional dynamic of the relationship, her role as muse was equally beneficial to her career and Manet’s. The gaze she holds in the painting is similar to that of others muses gaze. She looks knowingly at Manet, very comfortable in herself, almost as if she is confidant in her value as source of inspiration.

-Shannon Hunt 

S-M-I-L-E 

Tall or short, thick or thin, blonde, black, brunette or red hair, diversity is at the core of women's external appearance. No woman is like another. Facial expression and physical posture in one's appearance may help depict a women's unique countenance and personality.

Have you ever heard someone say, “It is not all about appearance and looks when it comes to being interested in a girl to date, it's about personality as well!” When looking and interacting with a woman how does her facial expressions depict her personality? Does she have squinty eyes full of disgust or a nose pointed upwards which suggests her superiority? Darkening her surroundings, her condemning spirit makes her seem cold and judgmental. Or does light reflect off of her like the sun? Shining radiately through accepting eyes and a genuine smile, she uplifts spirits and welcomes others. Similarly, what does her body language suggest? Does she lift her nose as if all the world should bow and pay homage to her magnificence or does she kneel at a person's feet like a servant, patient and kind?

The artwork chosen to interact with the Mona Lisa share a common theme. Yes, they are all women; yet, they all share a common facial expression: a smile. Though they all share the theme of smiling, they contrast in their body language. Therefore, the viewer may respond differently to each artwork. Like the mystery behind the Mona Lisa, these artworks pose a question: why exactly is that woman smiling? But more importantly, what do their smiles maybe suggest current states of being?

Gustav Klimt, Portrait of Adele Bloch-Bauer I, 1907 

Oil on canvas, Private Collection

This highly detailed and extravagant artwork immediately catches the viewers eye. The gold embellishments, geometric patterns/shapes, and sure size of the artwork makes it stand out. The background patterns and gold contrast the pale white used for Adele's skin color. At first the size of the piece draws the viewer; however, the contrasting color may then lead them to the face of Adele. The soft texture and flowing lines create a calming place for the eye to rest. Instead of being enveloped by the details surrounding her face. Furthermore, her black hair and rosy-red lips are contrasting her pale skin. The lines of her hair and lips are highlighted. There is where the smile lies. The corners of the lips are slightly lifted suggesting that she is in a pleasant state. Finally, her body language is simple and mainly closed. Her arms are tucked close to her body and hands enraptured. She is not trying to defend herself. She is flat and there is no movement suggesting her pleasant state.

Vincent Van Gogh, L'Arlésienne: Madame Joseph–Michel Ginoux, 1888-89 

Oil on canvas, 51.112.3

Similar to the Portrait of Adele Bloch-Bauer, Madame Joseph is surrounded by a bright background. Yellow covers the back of the canvas and she sits in a chair with blackish blue clothes covering her. Yet, her scarf-like chest covering and a book that lies before her are teal blue and white. Because of this the light teal in her eyes is noticeable. Plus, Vincent van Gogh added a rustic orange to outline her scarf label, books and most importantly the lips! Again, attention is brought to the face, especially the eyes and lips. The small lift in the corner of her lips suggests a smile. However, her arm posture suggests that she is in a contemplative state. As a result, the viewer may feel like she is smiling half-heartedly because she is in a contemplative state.

Leonardo da Vinci, Madonna with a Flower (Madonna Benois), 1478 

Oil on canvas transferred from wood, M.A. Benois Collection

This religious painting displays the Madonna and Christ figure as a baby. Traditional elements are included through out the painting. These items include halos, draped clothing, and a crucifix in the baby's hand. Plus, the colors are deep rich greens and browns and blacks. However, where the baby figure Christ is sitting on his mother's lap the clothing material changes to light blue. This color change helps highlight the location and position of the Christ figure. Yet, what is even more highlighted is the interaction between the Madonna and baby. As the baby sits on her lap, his eyes are pointed to the flower-like item that she has placed in front of him. He ponders and she smiles. It looks like the painting may be suggesting the joy in which the Madonna feels while overlooking her child in her lap. She seems like she is in a happy state of being.

John Singer Sargent, Madame X, 1883-84 

Oil on canvas, 16.53

Sargent's Madame X the subject matter of the woman includes simplistic detail except for her “S”-like curve posture. Because the background is a mundane brown and the black is dark and rich, her porcelain skin color is emphasized. Not to mention, the detail of the straps of her dress and her jeweled head piece are simplistic enough to not draw attention too long but they surround the lady's face and the lines almost create a pyramid shape. Finally, her side profile and pointy nose brings even more attention to her face. Once at the face, the almost closed eyes, that seem like they are softly squinting, and the closed lips may suggest that she is in a state of superiority.

Andy Warhol, Gold Marilyn Monroe, 1962 

Silkscreen ink on synthetic polymer paint on canvas, MoMA Gallery, 316.1962

Lastly, there is Andy Warhol's contemporary portrait of Marilyn Monroe. Immediately, connotations and presuppositions may come flooding into the viewer's mind. Other than her famous reputation, the bright, contemporary colors, and isolating position bring immediate attention to her face. The colors stand out. Especially, the color red. In the artwork the red is only in her lips which helps lead the viewer's eye to this location. Plus, once the eyes are drawn to the lips the white teeth are more dominate in the artwork as well. The presence of her teeth and sultry eyes suggests that maybe she is in a state of seduction and being sexy.

A Lasting Inspiration

As Picasso once said, “Good artists copy; great artists steal” and through the centuries of art there is a general consensus that all of the great artists have stolen and remade ideas based on the artwork and culture surrounding them. Inspiration would be another way to put it. We are all inspired in different ways and by people and the culture around us. A famous artist Chuck Close took past artist’s ideas and created pieces that would be an inspiration in themselves.  The impressionism and post-impressionism movement sparked an era of creative and colorful works of art that have contributed to many influential and current artists of todays world. The movement helped to stray away from naturalism and perspective and focused towards the importance of color and the meaning behind the piece rather than the reality of it. Chuck Close has aspects of these techniques within most of his pieces, as well as the gradual movement of moving from hyperrealism and naturalism to a more color filled and abstract style of works. Chuck Close’s most famous piece, Lucas I, has a blending of color through abstract forms to create an up close portrait of a man. His stippled, multi-colored dots on the piece pulls from Van Gogh’s style of layering colors to create a recognizable form. He mimics Cezanne by creating a calming color contrast and choosing colors that he knows will blend well together to create a naturalistic look from far away. However, when you move closer to the painting all of the other colors in the piece are so obvious and are no longer blending but rather separated and recognized individually through the viewers eyes. Close’s earlier pieces involving graphite are focused solely on perception and naturalism, similar to Gauguin. Close’s development of his first pieces were to gain familiarity to the human face and to recognize and become an expert on the shading and forms on ones face. He has such naturalism in his beginning works and eventually evolves into a colorful and abstract painting that still resembles his beginning naturalism and organic colors. 

Vincent Van Gogh Self Portrait with Felt Hat, c. 1887

 Oil on canvas

 Van Gogh Museum, Amsterdam, Netherlands

DimensionsL 44 x 37. 5 cm

Vincent Van Gogh’s self portrait proves to be a product of the post impressionist era. The colors, although naturalistic, the straight lines of color that create Van Gogh’s self portrait are so out of place that the piece is deemed unnaturalistic. I believe the Close definitely pulled his ideas from artists like Van Gogh because just like Close’s Lucas I piece, the self portrait has obvious colors schemes that would not be labeled as a natural human color. For example, the popping white streaks and hints of green would never be found on someones face in the natural world.

Paul Cezanne, Peasant (Le paysan), ca. 1891 

Oil on Canvas 

56 x 46 cm 

Private Collection

Paul Cezanne, known as the father of modern art was also a key contributor in the post impressionist and impressionist movement. With this painting we clearly see a lack of naturalism and a focus more on color and the forms of color that takes place in the man. the colors are meant to play off of each other and create a calm feeling for the viewer. Cezanne layers multiple colors to create a volume in the piece, just as Close had done in his Lucas I piece. He added multiple colors to a single stipple dot that helped to add a lot of color balance. 

Paul Gauguin, Tahitian Faces (Frontal Views and Profiles), ca. 1899

Charcoal on laid paper, 41 x 31.1 cm 

Met Museum 1996.418

This  piece is much more naturalistic in the forms of the faces. they are meant to have an aspect of  naturalism in order to convey that these women are exotic and come from a different place then the viewers. This reminds me of pieces done by Chuck Close that have such a sense of hyperrealism, even his Lucas I piece, although made of abstract forms conveys so much naturalism in the portrait. Although Tahitian Faces is more of a rough sketch and has the “unfinished” look it is still a post impressionist painting that resembles naturalism without all of the exact details of a complete naturalist piece. 

 Chuck Close, Keith, 1972 

Acrylic on Canvas

44 1/2 x 35 inches 

Saint Louis Art Museum, Accession Number: 793: 1983

This piece is a acrylic painting that has so much naturalism held within the piece. An extreme amount of attention to detail that has developed Close's skill to have been able to make pieces such as, Lucas I. I believe that his pieces related to this were the foundational steps to be able to manipulate the face of Lucas I and other works with color and shapes. The naturalism in the piece doesn't necessarily scream post impressionism but without having had the foundation and inspiration of the Keith piece his future paintings may not have been as successful.

Chuck Close, Leslie, 1977

Pastel, graphite, and watercolor on watercolor- washed paper

30 x 22 inches 

John Berggruen Gallery

In Leslie we begin to see his experimentation with the manipulation of forms on the face. Having to find volume and shadows while choosing colors that stray away from the organic colors of the face. This piece compared to the Lucas I piece proves to be the beginning work of this type of style. When comparing the two it is obvious to tell which one came first and which piece had a sense of experimentation.  The lucas I was formed with a sense of knowledge of what the face looked like. Close truly became familiar and comfortable with the face of a person. The Leslie piece does not show so much expertise and for the simple fact that it was the beginning of this new style Close was learning about.

- Hannah Manning