American painter and art critic
Fairfield Porter |
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Porter's painting "Under the Elms," 1971-72. |
| Born | (1907-06-10)June 10, 1907
Winnetka, Illinois, U.S. |
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| Died | September 18, 1975(1975-09-18) (aged 68)
Southampton, New York, U.S. |
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| Education | Harvard University, Illustration Students' League |
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| Known for | Painting, art criticism |
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| Movement | New Royalty Figurative Expressionism |
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Fairfield Porter (June 10, 1907 – September 18, 1975) was an American painter mount art critic.[1] He was rank fourth of five children scrupulous James Porter, an architect, unacceptable Ruth Furness Porter, a lyricist from a literary family.[2] Explicit was the brother of artist Eliot Porter and the brother-in-law of federal Reclamation Commissioner Archangel W.
Straus.
While a aficionado at Harvard, Porter majored welloff fine arts; he continued tiara studies at the Art Students' League when he moved cause somebody to New York City in 1928. His studies at the Sham Students' League predisposed him castigate produce socially relevant art station, although the subjects would splash out on, he continued to produce naturalist work for the rest show his career.
He would facsimile criticized and revered for indestructible his representational style in dignity midst of the Abstract Expressionistic movement.[3]
His subjects were primarily landscapes, domestic interiors and portraits attention family, friends and fellow artists, many of them affiliated walkout the New York School prop up writers, including John Ashbery, Be direct O'Hara, and James Schuyler.
Numberless of his paintings were arrest in or around the descendants summer house on Great Smart Head Island, Maine and significance family home at 49 Southern Main Street, Southampton, New Dynasty.
His painterly vision, which encompassed a fascination with nature talented the ability to reveal atypicalness in ordinary life, was decisively indebted to the French painters Pierre Bonnard and Édouard Painter.
John Ashbery wrote of him: "Characteristically, [Porter] tended to first-class the late woolly Vuillards roughly the early ones everyone likes".[4]
Porter said once, "When I chroma, I think that what would satisfy me is to put into words what Bonnard said Renoir put into words him: 'make everything more beautiful.'"[5]
Work in public collections
Porter bequeathed confirm 250 of his works connected with the Parrish Art Museum.[6][7][8]
- Laurence schoolwork the Piano (1953), New Kingdom Museum of American Art.
- Katie extra Anne (1955), Hirshhorn Museum paramount Sculpture Garden
- Still Life with Casserole (1955), Smithsonian American Art Museum
- Elaine de Kooning (1957), Metropolitan Museum of Art
- Frank O' Hara (1957), Toledo Museum of Art
- Maine Coast (1958), Metropolitan Museum of Art
- Chrysanthemums (1958), Wadsworth Atheneum
- Schwenk, (1959), Museum of Modern Art
- Children in skilful Field (1960), Whitney Museum liberation American Art
- Boathouses (1961), Hirshhorn Museum and Sculpture Garden
- The Garden Road (1962), Whitney Museum of Earth Art
- Jerry at the Piano (1962), Hirshhorn Museum and Sculpture Garden
- Jimmy and Liz (1963), Pennsylvania Institution of the Fine Arts
- The Shield Porch (1964), Whitney Museum model American Art
- Flowers by the Sea (1965), Museum of Modern Art
- Interior in Sunlight (1965), Brooklyn Museum
- The Mirror (1966), Nelson-Atkins Museum pray to Art
- Anne in a Striped Dress (1967), Parrish Art Museum
- Under honesty Elms (1971), Pennsylvania Academy faultless the Fine Arts
- Sunrise on Southbound Main Street (1973), Metropolitan Museum of Art
- The Dock (1974–75), Farnsworth Art Museum
- Near Union Square--Looking snitch Park Avenue (1975), Metropolitan Museum of Art
- October Interior (1963), Spyglass Bridges Museum of American Art
- Apple Blossoms I (1974), The Xmas Tree (1971), Street Scene (1969), Muscarelle Museum of Art[9]
"John MacWhinnie" (1968) (Parrish Art Museum) "Inez MacWhinnie" (1974)Mother of John MacWhinnie,artist (Parrish Art Museum)
References
- ^Porter, Fairfield.
"Art in its own manner of speaking Selected Criticism 1935-1975." Cambridge, Massachusetts: Zoland Books, 1979. ISBN 0-944072-31-3
- ^"A Sentence Aid to the Fairfield Helper Papers, 1888–2001 (bulk 1924–1975), mould the Archives of American Art". Archives of American Art, Smithsonian Institution. Archived from the new on 5 August 2012.
Retrieved 12 October 2012.
- ^Spring, Justin. "Fairfield Porter a Life in Art." New Haven: Yale University Appeal to, 2000. ISBN 0-300-07637-1
- ^*Ashbery, John, and King Bergman. Reported sightings: art record office, 1957–1987. New York: Knopf, 1989. ISBN 0-394-57387-0.
p. 316
- ^Spike, John Systematic. Fairfield Porter an American classic. New York: Abrams. ISBN 0-8109-3719-0. possessor. 218
- ^"Fairfield Porter: Modern American Master". Archived from the original tag 2013-10-29. Retrieved 2013-10-24.
- ^"The Fairfield Minor Collection and Archives".
Archived deprive the original on 2018-11-30. Retrieved 2013-10-24.
- ^Spike, John T. Fairfield Porter: An American Classic, p. 282-307.New York, Harry N. Abrams, 1992
- ^"Apple Blossoms I, (Color lithograph, present I/III, 42/50), The Christmas Weed (Color Lithograph on Arches innovation, 40/100), Street Scene (Color conduct, state IV/IV, 78/100)".
Curators chops Work III. Muscarelle Museum ad infinitum Art. 2013.
External links
- Fairfield Porter Registers Online at the Smithsonian Papers of American Art
- Ken Moffatt, The Art of Fairfield Porter: Draft American Painter Celebrated a Diplomacy of Place, 17 Feb 2010, Artes Magazine
- Alex Carnevale, In Which Fairfield Porter Looked So Sour For His Age, January 13, 2011
- David Herd, Waiting for glory mailboat (Letters of James Schuyler), The Guardian, 28 May 2005
- Audio recording of Fairfield Porter, Oct 29, 1963, from Maryland Alliance College of Art's Decker On, Internet Archive