Andrew World Part 2
A small proportion of critics sometimes made attempts to “reconcile” Wyeth with the “main wave” of modernism. From time to time, disputes arose about the fact that in his works there was an abstract component that had a reference to the style of Klein, de Kooning and Pollock, which Wyeth himself spoke very contemptuously of.
How to photograph pictures.
In truth, his early watercolors of the 30s and 40s, written in a free manner, were indeed not without some abstractness. Despite the opinion of detractors, Wyeth’s style has changed and transformed over the years of his career, which contradicts both those who accused him of moving “along the beaten track” and those who set him as an example of “continuity and constancy in the conditions of instability and uncertainty of modern life. “
Wyeth remained a controversial figure even in the realities of the 20th century, when the categorical division into “abstraction and avant-garde” and “conservative realism” already seemed depressingly inadequate and false. The only truth was that his art firmly took its place in that truly American context, which was shaped by illustrators like his father, N. S. Wyeth and Norman Rockwell, as well as landscape painters John Marine, Winslow Homer, Albert Bierstadt and Fitz Hugh Lane.
The painting “Christina’s World” became the quintessence of Andrew Wyeth’s success and glory, and became a real American “icon” along with Wood’s “American Gothic”, Whistler’s portrait of his mother and “Washington Crosses Delaware” by Emmanuel Loyce. We will talk about this picture in the next part of our material. Stay with us!