The Montclair Art Museum’s exhibition Matisse and American Art (on view through June 18, 2017) examines Henri Matisse’s profound impact on American modern art from 1907 to the present. The exhibition juxtaposes 19 works by Matisse with 44 works by American artists including Robert Motherwell , Max Weber, Alfred Maurer, Maurice Prendergast, Stuart Davis, Richard Diebenkorn, Ellsworth Kelly, Roy Lichtenstein, Andy Warhol, Romare Bearden, John Baldessari, Sophie Matisse, Faith Ringgold, and Helen Frankenthaler.
Motherwell first encountered Matisse’s paintings in the fall of 1935 at the home of Michael and Sarah Stein. He later recalled that the works he saw there, “[w]ent through my heart like a golden arrow and I had one real intuition immediately. I thought this is what I want to belong to.” That initial response carried through Motherwell’s life, influencing his works across media but especially in his collages. For the last two decades of his life, Motherwell had a Matisse cutout, La Danseuse, hanging in his home.
Matisse and American Art includes Motherwell’s 1977 collage Cathedral II. The work reflects Motherwell’s familiarity with Matisse’s method of collage, especially the act of cutting and arranging which added a physicality to the to the composition.
Pierre Chareau: Modern Architecture and Design was on view at the Jewish Museum until March 26, 2017.
French architect and interior designer Pierre Chareau spent the final years of his life in exile and relative obscurity in New York. Despite being a member of the prestigious Société des Artistes Décorateurs (an extraordinarily talented group of artists who specialized in creating unified interiors) in France, traces of his final years spent in America are limited and his American designs have received relatively little attention. He designed two built works in the United States: La Colline in Spring Valley, New York for the pianist Germaine Monteux and the writer Nancy Laughlin in 1950; and Robert Motherwell’s East Hampton studio and home in 1947.
Motherwell was introduced to Chareau and his wife Dollie by Anaïs Nin in the summer of 1944. Motherwell connected with Chareau in part because he believed that they both worked using “the collage principle, inspired by materials,” in their respective fields. In 1946 Motherwell asked Chareau to serve as the architecture editor for his review Possibilities, which he coedited with the critic Harold Rosenberg and the composer John Cage.
In 1947, Motherwell asked Chareau to design a house and studio on his two-acre property in East Hampton. For his fee, Chareau received a small piece of the Motherwell property on which he built a cottage that followed the so-called “primitive hut” concept later used by the French architect Corbusier in his Petit Cabanon. The Motherwell home and studio were built using surplus Quonset huts and utilized low cost materials like an industrial greenhouse window; concrete blocks for the retaining walls; plywood; and brick and oak logs for the floor.
The house gained some notoriety when it was photographed for Harper’s Bazaar in June of 1948. The photographs in the magazine show Chareau and the Motherwells as well as Anne Clark, and her young twin sons (including a young Gordon Matta-Clark) in the different rooms around the house.
The Chareaus were early collectors of Motherwell’s work and owned several of his paintings and drawings, including Line Figure in Beige and Mauve, 1946 and Constructed Figures, 1944 both of which are on display at the Jewish Museum until March 26.
To learn more about Robert Motherwell’s relationship with Pierre Chareau make sure to visit the Jewish Museum before March 26. More information about the exhibition can be found here.
Each year, the Dedalus Foundation offers twelve scholarships in fine art and art history to graduating seniors from New York City public schools. The fine art scholarship acknowledges technical skill as well as creativity in forms and materials, while the art history scholarship rewards clear writing, insight, and creativity in subject matter. These scholarships honor Robert Motherwell’s lifelong interest in arts education at all levels.
Below is a selection of work from the 2016 fine art scholarship winners. Applications for the 2017 scholarship competition are live on our site here.
As a part of our commitment to the neighborhood of Sunset Park, Brooklyn, where our community education programs are based, we also offer a fine art scholarship specifically to a graduating senior from Sunset Park High School.
Motherwell frequently revised his works, some over long periods of time, and some after they were reproduced in publications or exhibited. One of the most complicated histories of reworking involved Elegy to the Spanish Republic No. 132, which was repainted several times both before and after being exhibited. Begun in 1975, this painting was originally based on the composition of an earlier, small-scale work, Spanish Elegy with Orange No. 3 but it subsequently underwent a number of permutations and revisions that lasted from the mid-1970s well into the next decade.
In its very first version, it contained areas of orange, like the small picture on which it was modeled, but Motherwell repainted it entirely in black and white shortly afterward, and it was photographed on September 19, 1975.
He made significant revisions soon after this, and it looked quite different when it was photographed again on October 27, 1975.
He made major revisions again before it was photographed on February 10, 1976.
It was revised yet again before it was shown at his 1977 retrospective exhibitions in Paris and Edinburgh. In 1982 Motherwell reworked it again, adding large areas of pink and yellow ochre, before it was shown at his 1983 retrospective at the Albright-Knox Art Gallery, where it was reproduced in the catalogue.
After it was returned to him in 1985, he revised it yet again, painting over the pink areas with ochre as you can see in the final image.
In many cases, it is difficult to say exactly what prompted Motherwell to rework a given picture at a certain time. It was not simply a matter of “perfectionism,” since he himself accepted as a kind of philosophical truth that a work of art could never be perfect. The most surprising thing is how many pictures he revised—mostly paintings on canvas and panel, but also collages and paintings on paper— and also how many times he chose to repaint a picture when it would have seemed easier simply to start a new one, and how much time and effort he gave to the revision of both important and minor pictures. It was as if he was constantly trying to find, redefine, and find again an elusive reality not only within the world, but within himself.
In Winter 2016, the Dedalus Foundation was pleased to partner with the John F. Kennedy Center to present the exhibition (Re)Invention at our Sunset Park location. The exhibition features artists whose work exemplifies themes of renewal and self-discovery—of reinvention. From the unexpected whimsy of an animation, to a bold series of self-portraits, this work engages, challenges, and delights us. Collectively, these works of art captivate us on many levels: we are asked to explore ideas of self, community, legacy, and collective memory.
(Re)Invention is the 15th exhibition presented by the John F. Kennedy Center for the Performing Arts as part of the VSA Emerging Young Artists Program, a Jean Kennedy Smith Arts and Disability Program. The result of a longtime collaboration with Volkswagen Group of America, this national art competition and exhibition gives fifteen artists with disabilities, ages 16-25, the opportunity to display their work in venues across the nation where each artist’s individual talent, mode of expression, and view of the world is showcased and valued.
We wanted to highlight one of these artists— Monica Chulewicz from Seaford, NY— whose work I’m Not Here For You To Taunt won the competition’s grand prize.
Chulewicz is a Polish-American artist who was born and raised in New York. A printmaker and collagist, she uses vintage found materials in both digital and traditional hand-printing processes. Chulewicz was born with a progressive disease that has caused several secondary illnesses, and uses her chronic health issues as a means of inspiration for her work.
The cast of anonymous women depicted in I’m Not Here For You To Taunt represent collected memories from unknown histories, and evoke a continuum of loss and renewal throughout the generations. Chulewicz experiments with fiction of the past, using vintage photographs to create dialogues between memory and time, and address themes of existence, fragility, and mortality.
Image: Monica Chulewicz, I’m Not Here For You To Taunt, 2016. Cyanotype prints on vintage dress (90 in x 35 inches.)