Wednesday, March 29, 2017

An Arc of Connection: Winslow Homer & Charles Burchfield

Winslow Homer, An Open Window, oil, 1872,
Portland Museum of Art, Portland, Maine

Here are two paintings by two of my favorite American artists, Winslow Homer (1836-1910) and Charles Burchfield (1893-1967).  Differences abound between the hushed interior at the Portland Museum of Art and the glistening sunlight that dazzles our eye in the Memorial Art Gallery's landscape. Each has its own color sense and distinctive mood.

Charles Burchfield, Springtime in the Pool, watercolor, 
1922, Memorial Art Gallery, Rochester, New York

But both artists energize their paintings by doing something surprisingly similar- deliberately contrasting the regular horizontal or vertical lines in their compositions against prominently stated curves.

Winslow Homer's woman stands erect framed by the vertical edges of the window. Homer contrasts the straightness of the right side of her dress against the curving arc of his models left hip. 

Charles Burchfield created a landscape of fields that move mostly horizontally. Against that he made the line of the shore an abruptly curving shape, much like the outline of Homer's curved edge of the model's dress.  Imagine how much more predictable and how much more static both of these compositions would be if these strategic curves had been painted as simple straight lines.

Monday, March 20, 2017

The Rockwell Museum, Corning, New York

You have to love this wild building. It's formerly the City Hall in Corning, NY, now transformed into the Rockwell Museum. My wife Alice and I visited there last weekend and became instant fans. Founded some 41 years ago with a focus on the art of the West, the Museum has recently embarked on a mission to broaden its focus to other schools of art. 

And since January, it has a new Director, Brian Whisenhunt. Brian until recently was the Director at the Museum of the Southwest in Texas and before that Director of the Swope Art Museum in Indiana (where my solo exhibition continues through March 25, 2017. It really is a small world). 

One of the first pieces to greet you as you enter the Museum is this bronze Deborah Butterfield untitled horse from 2000 (above). Nearby is the temporary exhibit Modern Masters, Contemporary Icons on loan from the Old Jail Art Center in Albany, TX. I'd have posted images of some of its works (including Thomas Hart Benton, Grant Wood, and Warhol among others) but Museum asks that you not photograph work borrowed from other  collections. Modern Masters is on view through April 23, 2017.

Following is a quick tour of some of Rockwell's permanent collection.

Here's my wife Alice in one of the large upstairs galleries that has an enormous Albert Bierstadt oil Mt. Whitney on the far wall.

A favorite of ours was this etching by Gene Kloss (Am. 1903-1996), one of the Taos, NM circle of artists. Penetenites by Moonlight, circa 1950, depicts a religious procession under a tumultuous sky. In 1925 Kloss changed her name to the more masculine sounding "Gene" in hope of avoiding the prevailing bias against female artists in her day.

I was struck by the atmosphere and depth in an oil by an artist who was new to me, Sydney Laurence (1865-1940), Mt. McKinley from 1922.

N.C. Wyeth (1882-1945), oil I shall never forget the sight... from 1918.

The Winter Campaign, an oil by Frederic Remington (1861-1909) was painted during the artist's final year. It is a scene from the military campaigns against the Native American Remington witnessed as a correspondent during the the 1880's.

Wonderfully light-filled shadows are a hallmark of this oil by Joseph Henry Sharp (1859-1953), The Gift Dance Drummers, circa 1920. 

A Time of Hunger, an oil from 1975 by the painter John F. Clymer (1907-1989). Several years ago I had an exhibition of my own paintings in the Clymer Museum in Ellensburg, WA that is devoted to Clymer's art. I lived in that town for a year when I taught painting at Central Washington University but unfortunately wasn't aware of Clymer's work in those days. I think he had a terrific  feeling for the snow in this painting.

A custom made metal bear emerges from one of light fixtures in the Museum's Members' Gallery. It made me laugh.

Here's Alice in one of the galleries. The day we visited the town of Corning was bitterly cold, though the Rockwell itself was cozy. Nonetheless I think Alice was secretly wishing there was a blaze going in this fireplace.

Wednesday, March 15, 2017

Visiting My Oil Uncharted II at Arnot Art Museum

Arnot Art Museum in Elmira, New York recently opened their innovative exhibition 23 Pairs: Considering Compare and Contrast that matches 23 works from their own collection with 23 works borrowed from museums, galleries and private collections across America. I was honored to have my painting Uncharted II included in the show paired with the work of one of my heroes, the American Impressionist Willard Metcalf. 

My wife Alice and I drove up to Elmira over the weekend to visit the Arnot for our first time to see the show.

Christina Johnson who heads up Education for the Arnot kindly gave us a personal tour of the entire museum. Here she is with some of the signage at the beginning of the 23 Pairs show.

Here I am (grinning ear to ear) standing next to my painting with Metcalf's delicate oil The Hills in February at the left. The March issue of Fine Art Connoisseur magazine has a page devoted to the 23 Pairs show that reproduces Metcalf's and my painting. 

The Arnot Art Museum has an impressive permanent collection. One of my favorite canvases greets you when you first enter the Museum. By William-Adolphe Bouguereau (French 1825 - 1905) it is an allegory titled Art and Literature. In my opinion it is an unrivaled masterpiece of abstract composition.  In my years coming up as an art student Bourguereau was often dismissed as a hopelessly rigid and outdated painter.  But I think the pendulum is swinging back in Bouguereau's favor.

You can see more examples of Arnot's permanent collection on their website

Here's a photo of the contemporary addition that was added to the Arnot Museum in 1983 greatly expanding the scope of the galleries. It has undergone extensive renovations since that time and has elegant interior spaces for its art. The 23 Pairs exhibition is up through August 12, 2017. It's definitely worth a visit.

Monday, March 6, 2017

Eskenazi Museum of Art- A Homecoming

John Frederick Kennett (Am. 1816-1872), Water Scene
oil on canvas, Eskenazi Museum of Art

There are always a few places that exert an out sized influence on our lives. For me one such place was the Eskenazi Museum of Art in Bloomington, IN (formerly the Indiana Unversity Art Museum).

The day after the opening reception for Swope Art Museum's exhibition of my paintings done in Edward Hopper's studio my wife and I drove over from Terre Haute, IN to visit my old grad school, Indiana University.  Though I got my MFA degree in painting at IU in 1972 this was the first time since then I was able to visit the Museum.

Me with Eskenazi's Kennett, Feb. 2017

In 1970 the painting above by John Kennett was the first piece to catch my eye when I arrived at the campus Museum, mostly because the scene closely mirrored the look of the beach where I grew up on Lake Ontario outside of Rochester. Is there any other painting that captures the glow of light over calm waters so well? Understatement, this painting taught me, can be powerfully evocative.

Only months before my arrival in Bloomington the Museum had staged a huge exhibition celebrating the University's sesquicentennial, The American Scene: 1820-1900, organized by an art historian who I would later study with, Louis Hawes. 

While I missed the exhibition, its richly illustrated catalogue more than anything else opened my eyes to the rich heritage of American landscape painting. As you can see from the photo of its battered cover, that catalogue became something of a bible for me. I carried it everywhere, even taking it out into the field with me when I painted my first landscapes.

Edmund Tarbell (Am. 1862-1938), A Girl Mending
1905, Eskenazi Museum of Art

The Museum grew considerably in the years since I left both in its collection and with opening a vastly larger contemporary facility. Here are a few of the gems that were on display last month when we visited.

Robert Henri (Am. 1865-1929), Portrait of
Edith Haworth, 1909, Eskenazi Museum of Art

Sanford Gifford (Am. 1823-1880), Eskenazi Museum of Art

One piece that wasn't hanging that day from Eskenazi's collection is this panorama by Jasper Cropsey.

Jasper Francis Cropsey (Am. 1823-1900), American  
Harvesting, 1851, Eskenazi Museum of Art

It was one of the other paintings that taught me critical painting lessons. Prior to this most of my painting in my undergraduate days at Oberlin was about my excitement in contrasts of color and making intriguing flat shapes. In front of this painting though I remember falling into Cropsey's far distance. He artfully arranged his seven or eight major planes to march back into the deep space he celebrated. After this painting I never saw pictorial space the same way again. 

I had many painting teachers along the way- all of them helped me in some way, a few of them inspired me profoundly. But if thank you's are to be written, I also owe a note to this Museum in south central Indiana.

Wednesday, March 1, 2017

Swope Art Museum Permanent Collection Part II

Here are a few more pieces from Swope Art Museum's impressive Permanent Collection. My wife Alice's favorite sculptor is Paul Manship (Am. 1885-1966). Commanding your attention in Swope's lobby is a terrific painted plaster cast of his Diana. Swiftly moving, a dead shot with a bow and arrow, and always accompanied by her faithful hounds she's an impressive figure. No wonder Alice liked her. I'm a big fan too.

The Swope's first Director was John Rogers Cox (1915 - 1990) who when he took the job was the youngest museum director in the country. That he had a good eye is attested to by his purchases of widely acclaimed paintings by Edward Hopper, Thomas Hart Benton and Charles Burchfield. Cox was an accomplished painter himself, best known for his visionary landscapes. These two are in Swope's Collection: above Scales Mound from 1974, below White Cloud from 1943 & 1946.

Artist Sketching, Milton on the Hudson by George Inness (1825-1894) below is an extremely subtle painting. I fear my photograph doesn't do justice to the picture's wonderfully palpable sense of atmosphere.

Bruce Crane (Am. 1857- 1937) painted Grey Dawn with a similar devotion as George Inness to capturing the overall effect of a silvery atmosphere wrapped over the emerging landscape.

I get such a kick out of exhibiting my paintings in a museum's galleries alongside artists like the ones I've shown. I am a former abstract painter and to this day I have a contemporary eye. But  in the work of these artists who went before me are the echoes of so many of the themes I explore in my own work. 

Philip Koch, Edward Hopper's Kitchen: Open Door
oil on canvas, 40 x 60 inches, 2016 hanging in one of  
Swope's galleries.

Every generation naturally sees and feels a little differently. The way we see light for example has shifted slightly from how our forebears experienced it. As one walks into my show at the Swope from the galleries hung with the work of the earlier painters there is an inescapable change in color and mood. 

 Exhibition catalogue for Swope Museum's Light and Shadow: 
Paintings and Drawings by Philip Koch from Edward
 Hopper's Studio

The show of my work at the Swope Museum runs through March 25, 2017. Terre Haute Living magazine's March issue is just out with an interview with Susan Baley, the Museum's Director, and a good number of photographs of my current exhibition. Here's the link.

Philip Koch outside Swope Art Museum with
the banner for the exhibition.