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American Figurative Art in the
                                1950s
Art 109A: Contemporary Art
Westchester Community College
Fall 2012
Dr. Melissa Hall
Modernist Orthodoxy
From its inception the Museum of
Modern Art favored abstraction




                                   Museum of Modern Art, New York, NY. Philip L. Goodwin and Edward Durell
                                   Stone, Architects, 1939. Robert Damora, Photographer, 1939
                                   Image source: http://www.robertdamora.com/
Modernist Orthodoxy
Figurative art had no role to play in
the narrative of Modernist
“progress”




                                        Alfred Barr, Cubism and Abstract Art, Museum of Modern Art, 1936
Modernist Orthodoxy
The Whitney Museum was more
inclusive in its programs

It continued to exhibit figurative
artists alongside abstractionists,
refusing to impose a normative
style




                                     Whitney Museum of American Art at 10 West 8th Street, c. 1931
                                     Image source: http://whitney.org/Exhibitions/BreakingGround/Works
Modernist Orthodoxy
But with the success of Abstract
Expressionism, figurative artists
found themselves increasingly
marginalized from the mainstream




                                    Life Magazine, “Jackson Pollock: Is He the Greatest Living Painter in the United States?”
                                    1949
Modernist Orthodoxy
In mainstream art criticism, only
abstract art was considered to be
“advanced”




                                    Barnett Newman, Onement I, 1948   Jackson Pollock,
                                                                      Cathedral, 1947
Figurative Artists in
the 1950s
Many American artists who were
active in the 1930s and 1940s
continued to pursue a figurative
style




       Gjon Mili, Ben Shahn, 1954
       Image source:
       http://images.google.com/hosted/life/
       543c2fbc034fc083.html                   Ben Shahn, Scorn, 1952
                                               Kemper Museum of Contemporary Art
Ben Shahn, Liberation, 1945
Museum of Modern Art
Figurative Artists in
the 1950s
Some of Hopper’s best works were
done in the 1950’s-60s




                                   Edward Hopper, Self Portrait, 1925-30
                                   Whitney Museum of American Art
Edward Hopper, Morning Sun, 1952
Columbus Museum of Art
Edward Hopper, Office in a Small City, 1953
Metropolitan Museum
Figurative Artists in
the 1950s
Norman Rockwell continued to
work well into the 1960s, and
addressed contemporary social
issues in several of his works




                                 Norman Rockwell, Triple Self Portrait. Cover illustration for The Saturday
                                 Evening Post, February 13, 1960. Norman Rockwell Museum
Norman Rockwell, The Problem we All Live With, 1964
Museum of Fine Arts, Houston
Norman Rockwell, Southern Justice
(Murder in Mississippi). Unpublished
story illustration for Look, June 29,
1965. Norman Rockwell Estate.
Figurative Artists in
the 1950s
Andrew Wyeth was another
figurative artist working at this time




                                         Andrew Wyeth, Turkey Pond, 1944
                                         Farnsworth Art Museum
Andrew Wyeth, Christina’s World, 1948
Museum of Modern Art
Figurative Artists in
the 1950s
Fairfield Porter remained largely
unrecognized, in spite of his art
world connections as a critic




                                    Fairfield Porter, Self Portrait, 1972
                                    Parrish Art Museum
Figurative Artists in
the 1950s
When Porter was given a
retrospective at the Boston
Museum of Fine Arts in 1983 it was
titled “Realist Painter in an Age of
Abstraction” -- a title that captures
the predicament of figurative artists
at this time




                                        Fairfield Porter, Katie and Anne, 1955
                                        Hirshhorn Museum
Fairfield Porter, The Mirror, 1960
Nelson Atkins Museum
Figurative Artists in
the 1950s
Milton Avery was a close friend of
Mark Rothko and an important
influence on his work




                                     Arnold Newman, Milton Avery, 1961
                                     Image source:
                                     http://www.britannica.com/EBchecked/media/8649/Milton-Avery-photograph-by-Arnold-
                                     Newman-1961
Figurative Artists in
the 1950s
He continued to work abstractly,
while retaining recognizable subject
matter in his work




                                       Milton Avery, White Rooster, 1947
                                       Metropolitan Museum
Milton Avery, Sea Grasses and Blue Sea, 1958
Museum of Modern Art
Figurative Artists in
the 1950s
Larry Rivers is often associated
with Beat poets such as Frank
O’Hara, and was a precursor of the
Pop movement of the 1960s




                                     Larry Rivers, Self Portrait, 1953
                                     Art Institute of Chicago
Figurative Artists in
the 1950s
He rebelled against the Modernist
orthodoxy by challenging the taboo
against subject matter




                                     Larry Rivers, Self Portrait, 1953
                                     Art Institute of Chicago
Figurative Artists in
the 1950s
His website proudly announces that
the influential art critic Clement
Greenberg though his work “stinks”




                                     http://larryriversfoundation.org/home.html
Figurative Artists in
the 1950s
One of Rivers’ seminal works was
Washington Crossing the Delaware




                                   Larry Rivers, Washington Crossing the Delaware, 1953
                                   Museum of Modern Art
Figurative Artists in
the 1950s
It was a “history painting,” painted
in a loose brushy style, with
characters plagiarized from art
history




                                       Larry Rivers, Washington Crossing the Delaware, 1953
                                       Museum of Modern Art
Figurative Artists in
the 1950s
The picture was a parody of the
overblown heroics of Emanuel
Leutze’s famous painting in the
Metropolitan Museum




                                  Emanuel Gottlieb Leutze, George Washington Crossing the
                                  Delaware, 1851
                                  Metropolitan Museum
Figurative Artists in
the 1950s
Rivers had chosen the most
“backward” kind of painting he
could think of -- patriotic history
painting




                                      Emanuel Gottlieb Leutze, George Washington Crossing the
                                      Delaware, 1851
                                      Metropolitan Museum
Figurative Artists in
the 1950s
He combined this old fashioned
“academic” subject matter with a
loose, brushy style considered to
be “advanced”




                                    Larry Rivers, Washington Crossing the Delaware, 1953
                                    Museum of Modern Art
Figurative Artists in
the 1950s
By combining the overblown
heroics of history painting with the
mock-heroic style of Abstract
Expressionism, Rivers was making
fun of the grandiose claims of his
contemporaries




                                       Larry Rivers, Washington Crossing the Delaware, 1953
                                       Museum of Modern Art
Figurative Artists in
the 1950s
The response, as Rivers explains,
was “the same reaction as when
the Dadaists introduced a toilet seat
as a piece of sculpture in a Dada
show in Zurich. Except that the
public wasn't upset - the painters
were.”




                                        Larry Rivers, Washington Crossing the Delaware, 1953
                                        Museum of Modern Art
Figurative Artists in
    the 1950s


“With the success of Washington
Crossing the Delaware Rivers was, as
he further describes in his
autobiography, “branded a rebel
against the rebellious abstract
expressionists, which made me a
reactionary.”
http://larryriversfoundation.org/seminal_works.html




                                                      Larry Rivers, Washington Crossing the Delaware, 1953
                                                      Museum of Modern Art
Figurative Artists in
the 1950s
Rivers did a number of figurative
paintings that pushed boundaries
by combining drawing and painting,
realism and an abstract “gestural”
style.

The commonplace subject matter,
combined with the inexplicable
nudity of the figures, made his work
enigmatic




                                       Larry Rivers, Bedroom, 1955
                                       Museum of Fine Arts Boston
Figurative Artists in
the 1950s
One of his most shocking (and
tender) paintings is his double
portrait of his aging mother-in-law in
the nude




                                         Larry Rivers, Double Portrait of Berdie, 1955
                                         Larry Rivers Foundation
Figurative Artists in
the 1950s
Rivers also did a number of works
that anticipated Pop Art in their use
of popular imagery drawn from
advertising




                                        Larry Rivers, Camel Quartet. Original color lithograph & screenprint, 1978-90
                                        Image source: http://www.spaightwoodgalleries.com/Pages/POP_Art_2001.html
Larry Rivers, Little French Money II, 1962
Hirshhorn Museum
Figurative Artists in
the 1950s
In his Dutch Masters series, he
copied the graphics on the lid of the
Dutch Masters cigar case which
featured a reproduction of
Rembrandts famous painting of the
Syndics of the Dutch Drapery Guild




                                        Larry Rivers, Dutch Masters Cigars, 1982
                                        Image source:
                                        http://www.newpaltz.edu/museum/exhibitions/readingobjects/fi/0000000f.htm
Figurative Artists in
the 1950s
Anticipating “appropriation art” in
the 1980s-1990s, Rivers did many
works that were copies of famous
old master works.




                                      Larry Rivers, I Like Ingres, 1962
                                      Hirshhorn Museum
Figurative Artists in
the 1950s
One of his most controversial works
was I Like Olympia in Blackface,
which was a three dimensional
tableau that parodied the implicit
racism of Manet’s famous painting




                                      Larry Rivers, I Like Olympia in Blackface, 1970
                                      Centre Georges-Pompidou
                                      Image source: http://www.flickr.com/photos/ganimede1984/5748797416/
Figurative Artists in
the 1950s
Alex Katz also anticipated Pop art
with his figurative works that
employ flat, cartoon-like drawing,
and seem devoid of emotional
affect




                                     Alex Katz, Ada Ada, 1959
                                     Grey Art Collection, NYU
Alex Katz, The Black Dress, 1960
Brandhorst Collection
Image source: https://trufflehunting.wordpress.com/2010/06/09/life-imitates-art/
Figurative Artists in
the 1950s
In California a group of artists
working in an updated figural style
came to be known as the Bay Area
Figurative School




                                      Golden Gate Bridge, San Francisco
                                      Image source: http://serc.carleton.edu/details/images/30962.html
Figurative Artists in
the 1950s
David Parks painted in a highly
abstract mode that drew heavily on
German Expressionism




                                     David Parks, Two Bathers, 1958
                                     SFMOMA
David Parks, Four Men, 1958
Whitney Museum
Figurative Artists in
the 1950s
Richard Diebenkorn also explored
the fine line between realism and
abstraction in figurative and
landscape works




                                    Richard Diebenkorn, Woman in Profile, 1958
                                    SFMOMA
Richard Diebenkorn, Cityscape I (Landscape No. 1), 1963
SFMOMA
Figurative Artists in
the 1950s
In Chicago, Leon Golub belonged
to a group called the “Monster
Roster”

He drew on outsider art and the art
of the insane to produce tortured
images of men in a state of
psychological crisis




                                      Leon Golub, Dying Gaul, 1955
                                      Artnet.com
Leon Golub, Fallen Warrior (Burnt Man), 1960
Artnet.com
Leon Golub, Gigantomachy III, 1966
Image source: http://web.me.com/dianethodos/Site/Leon_Golub.html
Leon Golub, Vietnam II, 1973
Tate Gallery
Image source: http://robertopozuelo.files.wordpress.com/2011/07/leon-golub-mural.jpg
Figurative Artists in
the 1950s
In the 1980’s Golub was
“rediscovered” with his series of
large scale paintings depicting
mercenaries




                                    Leon Golub, Mercenaries IV, 1984
                                    Saatchi Collection
                                    Artnet
Leon Golub, Interrogation II, 1981
Art Institute of Chicago
Leon Golub working on one his his mural-scaled mercenary paintings
Image source: http://roberttracyphdart477677artsince1945.wordpress.com/2011/03/05/leon-golub-and-his-mercenaries-series/

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American Figurative Art in the 1950s Defies Modernist Orthodoxy

  • 1. American Figurative Art in the 1950s Art 109A: Contemporary Art Westchester Community College Fall 2012 Dr. Melissa Hall
  • 2. Modernist Orthodoxy From its inception the Museum of Modern Art favored abstraction Museum of Modern Art, New York, NY. Philip L. Goodwin and Edward Durell Stone, Architects, 1939. Robert Damora, Photographer, 1939 Image source: http://www.robertdamora.com/
  • 3. Modernist Orthodoxy Figurative art had no role to play in the narrative of Modernist “progress” Alfred Barr, Cubism and Abstract Art, Museum of Modern Art, 1936
  • 4. Modernist Orthodoxy The Whitney Museum was more inclusive in its programs It continued to exhibit figurative artists alongside abstractionists, refusing to impose a normative style Whitney Museum of American Art at 10 West 8th Street, c. 1931 Image source: http://whitney.org/Exhibitions/BreakingGround/Works
  • 5. Modernist Orthodoxy But with the success of Abstract Expressionism, figurative artists found themselves increasingly marginalized from the mainstream Life Magazine, “Jackson Pollock: Is He the Greatest Living Painter in the United States?” 1949
  • 6. Modernist Orthodoxy In mainstream art criticism, only abstract art was considered to be “advanced” Barnett Newman, Onement I, 1948 Jackson Pollock, Cathedral, 1947
  • 7. Figurative Artists in the 1950s Many American artists who were active in the 1930s and 1940s continued to pursue a figurative style Gjon Mili, Ben Shahn, 1954 Image source: http://images.google.com/hosted/life/ 543c2fbc034fc083.html Ben Shahn, Scorn, 1952 Kemper Museum of Contemporary Art
  • 8. Ben Shahn, Liberation, 1945 Museum of Modern Art
  • 9. Figurative Artists in the 1950s Some of Hopper’s best works were done in the 1950’s-60s Edward Hopper, Self Portrait, 1925-30 Whitney Museum of American Art
  • 10. Edward Hopper, Morning Sun, 1952 Columbus Museum of Art
  • 11. Edward Hopper, Office in a Small City, 1953 Metropolitan Museum
  • 12. Figurative Artists in the 1950s Norman Rockwell continued to work well into the 1960s, and addressed contemporary social issues in several of his works Norman Rockwell, Triple Self Portrait. Cover illustration for The Saturday Evening Post, February 13, 1960. Norman Rockwell Museum
  • 13. Norman Rockwell, The Problem we All Live With, 1964 Museum of Fine Arts, Houston
  • 14. Norman Rockwell, Southern Justice (Murder in Mississippi). Unpublished story illustration for Look, June 29, 1965. Norman Rockwell Estate.
  • 15. Figurative Artists in the 1950s Andrew Wyeth was another figurative artist working at this time Andrew Wyeth, Turkey Pond, 1944 Farnsworth Art Museum
  • 16. Andrew Wyeth, Christina’s World, 1948 Museum of Modern Art
  • 17. Figurative Artists in the 1950s Fairfield Porter remained largely unrecognized, in spite of his art world connections as a critic Fairfield Porter, Self Portrait, 1972 Parrish Art Museum
  • 18. Figurative Artists in the 1950s When Porter was given a retrospective at the Boston Museum of Fine Arts in 1983 it was titled “Realist Painter in an Age of Abstraction” -- a title that captures the predicament of figurative artists at this time Fairfield Porter, Katie and Anne, 1955 Hirshhorn Museum
  • 19. Fairfield Porter, The Mirror, 1960 Nelson Atkins Museum
  • 20. Figurative Artists in the 1950s Milton Avery was a close friend of Mark Rothko and an important influence on his work Arnold Newman, Milton Avery, 1961 Image source: http://www.britannica.com/EBchecked/media/8649/Milton-Avery-photograph-by-Arnold- Newman-1961
  • 21. Figurative Artists in the 1950s He continued to work abstractly, while retaining recognizable subject matter in his work Milton Avery, White Rooster, 1947 Metropolitan Museum
  • 22. Milton Avery, Sea Grasses and Blue Sea, 1958 Museum of Modern Art
  • 23. Figurative Artists in the 1950s Larry Rivers is often associated with Beat poets such as Frank O’Hara, and was a precursor of the Pop movement of the 1960s Larry Rivers, Self Portrait, 1953 Art Institute of Chicago
  • 24. Figurative Artists in the 1950s He rebelled against the Modernist orthodoxy by challenging the taboo against subject matter Larry Rivers, Self Portrait, 1953 Art Institute of Chicago
  • 25. Figurative Artists in the 1950s His website proudly announces that the influential art critic Clement Greenberg though his work “stinks” http://larryriversfoundation.org/home.html
  • 26. Figurative Artists in the 1950s One of Rivers’ seminal works was Washington Crossing the Delaware Larry Rivers, Washington Crossing the Delaware, 1953 Museum of Modern Art
  • 27. Figurative Artists in the 1950s It was a “history painting,” painted in a loose brushy style, with characters plagiarized from art history Larry Rivers, Washington Crossing the Delaware, 1953 Museum of Modern Art
  • 28. Figurative Artists in the 1950s The picture was a parody of the overblown heroics of Emanuel Leutze’s famous painting in the Metropolitan Museum Emanuel Gottlieb Leutze, George Washington Crossing the Delaware, 1851 Metropolitan Museum
  • 29. Figurative Artists in the 1950s Rivers had chosen the most “backward” kind of painting he could think of -- patriotic history painting Emanuel Gottlieb Leutze, George Washington Crossing the Delaware, 1851 Metropolitan Museum
  • 30. Figurative Artists in the 1950s He combined this old fashioned “academic” subject matter with a loose, brushy style considered to be “advanced” Larry Rivers, Washington Crossing the Delaware, 1953 Museum of Modern Art
  • 31. Figurative Artists in the 1950s By combining the overblown heroics of history painting with the mock-heroic style of Abstract Expressionism, Rivers was making fun of the grandiose claims of his contemporaries Larry Rivers, Washington Crossing the Delaware, 1953 Museum of Modern Art
  • 32. Figurative Artists in the 1950s The response, as Rivers explains, was “the same reaction as when the Dadaists introduced a toilet seat as a piece of sculpture in a Dada show in Zurich. Except that the public wasn't upset - the painters were.” Larry Rivers, Washington Crossing the Delaware, 1953 Museum of Modern Art
  • 33. Figurative Artists in the 1950s “With the success of Washington Crossing the Delaware Rivers was, as he further describes in his autobiography, “branded a rebel against the rebellious abstract expressionists, which made me a reactionary.” http://larryriversfoundation.org/seminal_works.html Larry Rivers, Washington Crossing the Delaware, 1953 Museum of Modern Art
  • 34. Figurative Artists in the 1950s Rivers did a number of figurative paintings that pushed boundaries by combining drawing and painting, realism and an abstract “gestural” style. The commonplace subject matter, combined with the inexplicable nudity of the figures, made his work enigmatic Larry Rivers, Bedroom, 1955 Museum of Fine Arts Boston
  • 35. Figurative Artists in the 1950s One of his most shocking (and tender) paintings is his double portrait of his aging mother-in-law in the nude Larry Rivers, Double Portrait of Berdie, 1955 Larry Rivers Foundation
  • 36. Figurative Artists in the 1950s Rivers also did a number of works that anticipated Pop Art in their use of popular imagery drawn from advertising Larry Rivers, Camel Quartet. Original color lithograph & screenprint, 1978-90 Image source: http://www.spaightwoodgalleries.com/Pages/POP_Art_2001.html
  • 37. Larry Rivers, Little French Money II, 1962 Hirshhorn Museum
  • 38. Figurative Artists in the 1950s In his Dutch Masters series, he copied the graphics on the lid of the Dutch Masters cigar case which featured a reproduction of Rembrandts famous painting of the Syndics of the Dutch Drapery Guild Larry Rivers, Dutch Masters Cigars, 1982 Image source: http://www.newpaltz.edu/museum/exhibitions/readingobjects/fi/0000000f.htm
  • 39. Figurative Artists in the 1950s Anticipating “appropriation art” in the 1980s-1990s, Rivers did many works that were copies of famous old master works. Larry Rivers, I Like Ingres, 1962 Hirshhorn Museum
  • 40. Figurative Artists in the 1950s One of his most controversial works was I Like Olympia in Blackface, which was a three dimensional tableau that parodied the implicit racism of Manet’s famous painting Larry Rivers, I Like Olympia in Blackface, 1970 Centre Georges-Pompidou Image source: http://www.flickr.com/photos/ganimede1984/5748797416/
  • 41. Figurative Artists in the 1950s Alex Katz also anticipated Pop art with his figurative works that employ flat, cartoon-like drawing, and seem devoid of emotional affect Alex Katz, Ada Ada, 1959 Grey Art Collection, NYU
  • 42. Alex Katz, The Black Dress, 1960 Brandhorst Collection Image source: https://trufflehunting.wordpress.com/2010/06/09/life-imitates-art/
  • 43. Figurative Artists in the 1950s In California a group of artists working in an updated figural style came to be known as the Bay Area Figurative School Golden Gate Bridge, San Francisco Image source: http://serc.carleton.edu/details/images/30962.html
  • 44. Figurative Artists in the 1950s David Parks painted in a highly abstract mode that drew heavily on German Expressionism David Parks, Two Bathers, 1958 SFMOMA
  • 45. David Parks, Four Men, 1958 Whitney Museum
  • 46. Figurative Artists in the 1950s Richard Diebenkorn also explored the fine line between realism and abstraction in figurative and landscape works Richard Diebenkorn, Woman in Profile, 1958 SFMOMA
  • 47. Richard Diebenkorn, Cityscape I (Landscape No. 1), 1963 SFMOMA
  • 48. Figurative Artists in the 1950s In Chicago, Leon Golub belonged to a group called the “Monster Roster” He drew on outsider art and the art of the insane to produce tortured images of men in a state of psychological crisis Leon Golub, Dying Gaul, 1955 Artnet.com
  • 49. Leon Golub, Fallen Warrior (Burnt Man), 1960 Artnet.com
  • 50. Leon Golub, Gigantomachy III, 1966 Image source: http://web.me.com/dianethodos/Site/Leon_Golub.html
  • 51. Leon Golub, Vietnam II, 1973 Tate Gallery Image source: http://robertopozuelo.files.wordpress.com/2011/07/leon-golub-mural.jpg
  • 52. Figurative Artists in the 1950s In the 1980’s Golub was “rediscovered” with his series of large scale paintings depicting mercenaries Leon Golub, Mercenaries IV, 1984 Saatchi Collection Artnet
  • 53. Leon Golub, Interrogation II, 1981 Art Institute of Chicago
  • 54. Leon Golub working on one his his mural-scaled mercenary paintings Image source: http://roberttracyphdart477677artsince1945.wordpress.com/2011/03/05/leon-golub-and-his-mercenaries-series/