Articles

Posted 02/10/16

Getting the blues: Transfer ware translated by three contemporary artists

Y ou can only imagine what the china connoisseur in Edward Lamson Henry's 1889 A Lover of Old China might think upon encoun-tering a plate made by one of the three contemporary artists shown here. We, on the other hand, might be equally disconcerted by the notion that there could be anything contemporary or even modern about a transfer-ware plate. In fact, when modern ceramics come to mind we are bound to envision a simple functional shape, obviously created by hand, coated in a glaze of a rich but subtle hue. That is the legacy of the studio pottery movement that began in Britain in the early twentieth century with ceramists such as Bernard Leach, Lucy Rie, and others. And yet the three artists profiled here are making us take a second look at a medium that has grown stale with familiarity over the last hundred years.

Posted 01/21/16

What we talk about when we talk about naive art

Late in the 1970s, sailing in the Grenadines, my wife Brigitte and I stopped at the small island of Bequia—an Arawak name meaning “is­land of the clouds.” It has now become a tourist stop. Port Elizabeth, its principal town, today advertises a “charming wa­terfront; take a stroll from the vegetable market, follow ‘front street’ with its many shops, boutiques and restaurants, keep going along the beach walkway, maybe stop for a drink at the Frangipani or Gingerbread.” Passing time has not erased the memory of walking that waterfront, stopping in the manner of meandering tourists at a stationer’s shop and coming upon, piled in a bin, a small stack of paintings by Canute Caliste, six dollars apiece. We bought them all.  

Posted 01/21/16

OMG Indeed!

It was quiet in the galleries last September as I took a final walk through the Wadsworth Atheneum before the grand unveiling of our eight-year project to bring back its glories. I wondered how our members, patrons, the press, and the public would respond to all that we have done here. It has been a long haul, full of ups and downs in the economically stressed city of Hartford, Connecticut, as we renovated and upgraded the museum’s aged buildings so that its world-class collections could be reinstalled.

Posted 01/05/16

New Worlds, New Art

Landscape painting in all the Americas, a touring exhibition and an inquiry Artistic representation of human interaction with the land has a long history in the Americas. It spans more than thirty thousand years, from the earthworks and pictographs of ancient indigenous cultures to the land art of the 1960s and 1970s to contemporary photographs of the terrible beauty of environmental destruction. It was during the early years of the nineteenth century, as emerging settler nations across the hemisphere gained and asserted their independence, that landscape painting began to forge a broader vision of the Americas. Artists seeking to respond to and depict distinctive topographies and natural wonders produced unique pictorial representations that nonetheless shared an ideological and aesthetic orientation to the land, as well as artistic techniques for depicting it.

Posted 12/18/15

A Rich and Beautiful Sadness

In one of his most famous works, the esteemed art historian Sir Nikolaus Pevsner sought to define “The Englishness of English Art.” If anyone were to under take a comparable inquiry into the Danishness of Danish art, the painter Vilhelm Hammershøi could well stand as the palmary embodiment of the thing in question. His small, reticent, manically controlled paintings achieve that prim order, that almost morbid inwardness, that foreigners, at least, are apt to associate with the land of Hamlet and Kierkegaard.

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