In the Beginning: Thomas Hart Benton

Above is "The Wreck of the Ole 97" painted by Thomas Hart Benton (1889-1975) in 1943. The exaggerated solidity and twistings of subjects and the strong colors are virtual trademarks of the artist's style. But like most mature styles, it was not evident during his formative years.

Justin Wolff's recent biography of Benton indicates that the mature Benton style did not emerge until the early 1920s. Before that, he experimented with a number of styles, hoping to find his artistic "voice." And it seems that he continued to experiment in later years, though those works were probably intended for his own use.

What I find interesting is that Benton explored an especially wide range of styles before hitting paydirt. Let's take a look:

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The Artist's Sister - 1913
This painting is entirely traditional, showing that despite his later anatomical antics, Benton was capable of honestly depicting a subject.

The Fish Hatchery, Neosho - 1912
Yet in the previous year he was already tentatively experimenting with modernist stylistic elements.

Bubbles - c.1916
He fell under the Synchromist spell of Stanton Macdonald-Wright for a while.

Upper Manhattan - 1917
Then he backed away from pure abstraction to modernist form-simplification with a touch of Synchromist coloration.

Rhythmic Construction - 1919
Amongst his ziggings and zaggings, Benton included this stab at abstraction. Note the hard-edge look and hints of shapes and colors he would soon turn to in his more representational work.

Self-Portrait with Rita - 1922
This is one of the earliest paintings showing Benton's signature style. Rita Piacenza was his new wife.

Concept Cars: Forward to the Past

Back in the 1950s, 1960s and even through the 1980s American car makers created show cars that supposedly pointed to new directions in automobile style. One popular term for such a "concept car" (a term used a lot nowadays) was "car of the future."

But things changed for a while around 2000. Several concept cars appeared that were Retro, pointing to the past rather than the future. Those show cars weren't strictly old-fashioned; rather, they were modern aside from styling cues borrowed from designs from decades earlier.

Why did this happen? In part, Retro was fashionable -- in production were such designs as the Volkswagen New Beetle and the Audi TT sports car. Soon to appear were a Ford Thunderbird with styling cues based on the 1956 T-bird and the Chrysler PT Cruiser that hearkened to hot rods based on mid-1930s sedans.

Another factor might have been that the US auto industry was doing well enough that companies could afford to create a few show cars that diverged from the usual practice of presenting features planned or considered for production in the next few years.

Here are some of those Retro cars of the future:

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Chrysler Atlantic - 1995

Bugatti Type 57SC Atlantique
Only three Atlantiques were ever built, but the design is considered by many as one of the high points of Bugatti style. The Chrysler version pulls the body elements into a more integrated package, the strongest holdover from the 57SC being the shape of the side windows. The overall effect strikes me as being aggressively fussy, but nevertheless likeable.

Chrysler Chronos - 1998

Chrysler D'Elegance - 1953
The Chronos is inspired by early 1950s Chrysler show cars designed by Virgil Exner. It comes closest to the D'Elegance: note the grille, the side window cutout pattern and the treatment of the rear fender and its extension forward along the side. The D'Elegance also served as inspiration for the Volkswagen Karmann-Ghia sporty car produced from the late 1950s into the 1970s. A significant difference for the Chronos is that it's a 4-door sedan rather than a 2-door coupe.

Ford Forty Nine - 2001

Ford - 1949
I'm not sure what J Mays and his styling crew were thinking when they came up with the Forty Nine. That is, it's not clear to me if they had some sort of future production model in mind at the time; if they did, nothing seems to have come of it. The Forty Nine is rather bland, but so was the 1949 Ford. If I were in charge of the Forty Nine project, I would have insisted on putting a 1949-style spinner on the front, because that's what defines the original in my mind.

Buick Blackhawk - 2001

Buick Century - 1939
From what I read, GM styling supremo Harley Earl was disappointed in some of the visually weak grilles appearing on GM cars at the end of the 1930s. Surely the 1939 Buick front end was one of the weakest. So I'm wondering why the Blackhawk styling team selected that grille for their concept car. My best guess is that they thought it blended well with the body shaping. And they were probably right, though the addition of a front bumper would likely have diminished the grille's visual strength.

In the Beginning: Mark Rothko

The image above has neither subject-matter nor title. It's a "Color Field" abstract painting by Mark Rothko (1903-1970) who made his artistic mark by creating it and similar works. His Wikipedia entry is here.

Before Rothko entered the Color Field genre, he drifted along with other artists of the interwar period in a search for creative results when the real modernist creative spadework had already been completed. I discuss this problem in my e-book "Art Adrift." Rothko eventually succeed to a degree, in that his Color Field paintings featured geometrical shapes (usually rectangles) that had lost part of their geometrical character because edges were blurred, indistinct. (Earlier artists such as Kandinsky, Mondrian and Malevich painted their geometry in the old, tried-and-true hard-edged fashion.)

Here are examples of Rothko's pre-Color Field work.

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View of Portland (Oregon) - c.1928
This is the most naturalistic painting that I could find. He situated himself on the hill to the west of downtown Portland and faced east. That's the Willamette River in the middle ground and Mt. Hood on the horizon to the left of center.

Untitled (three nudes) - c.1926-35
Highly uncertain date for this. As best I know, Rothko never followed the Cubist route, but instead relied on distorting subject's shapes to a considerable degree and colors to a lesser extent while observing the modernist diktat of "honoring the picture plane" (avoiding the appearance of depth). These remarks apply to most of the paintings below.

Woman Reading - 1933

Self-Portrait - 1936

Contemplation - 1937-38

Entrance to Subway (Subway Scene) - 1938
Here Rothko edges away from the flatness requirement. Nearer objects overlap more distant objects and nearer objects are larger than distant objects (I'm referring to people in this case). However, flatness is retained to a large degree because Rothko paints his subjects as if they were flat, cardboard cut-outs, no doubt preserving his modernist credentials.

Norah Neilson Gray: Solid Scot

I was wandering through the galleries in Glasgow's Kelvingrove Art Gallery and Museum a few months ago and came across the painting shown above (click to enlarge). The reproduction does not do justice to the original. For a lower-quality impression, below is an aide-memoir photo I hurriedly shot. Note the differences in color, possibly related to local lighting conditions.

The painting stood out from the others arranged near it, perhaps partly due to its size, but more because of how decisive was the application of paint. Its title is "Little Brother" (1920-22) and the artist was Norah Neilson Gray (1882-1931); her Wikipedia entry is here.

Gray is been grouped under the "Glasgow Girls" label (an analog to the better-known "Glasgow Boys" active in the 1880s and 1890s). I posted on the "Girls" here and about Bessie MacNicol, another outstanding member of the group, here.

MacNicol's paintings are more Impressionist-influenced and seem fussy compared to Gray's typical use of crisply defined color areas to portray her subjects. Here are more examples of her work.

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The Belgian Refugee - c1915

Scottish Women's Hospital

Salopian Cup and Chinese Vase

Self-Portrait - 1918

Self-Portrait
This self-portrait reminds me of the work of Romaine Brooks.

Marine Art by Marin-Marie

Above is a slightly cropped image of the cover of a book about holders of the somewhat informal Blue Riband for fastest ocean liner speed when crossing the North Atlantic westbound. It's a nice book, but I'm really fond of the cover illustration of the famed liner Normandie by a French painter who called himself Marin-Marie. (The French word marin is analogous the the English word "marine" in the sense of referring to traveling on or dealing with oceans and seas. In his case, the "Marie" apparently has to do with his mother, who died young.) The artist's actual name was Paul Emmanuel Durand Couppel de Saint-Front (1901-1987), and his French Wikipedia entry is here.

Marin-Marie came from a family interested in things nautical. He obtained a doctorate in law, but also took evening classes at the École des beaux-arts in Paris. He did his share of voyaging while making a career in nautical art and serving as a consultant for what was known as the French Line.

Back to the cover image above. I liked the color treatment. But it seems that, thanks to the magic of digital manipulation, those probably aren't the colors of the original art. Consider some evidence:

This is a poster that was also based on the original painting. It's old, so the colors might have been affected by the paper yellowing; this could transform blues into greens.

This might be the original (one can't always be certain for images grabbed off the Web; it's best to have seen the original in person). Much brighter. No green in the sky, though there are areas of orange on the ship.

Here is what seems to be a study for the painting. Again, no sign of that interesting green.

As background on Marin-Marie, here are a few more of his works.

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Another painting of Normandie in New York harbor. Here we see greens and oranges (assuming the reproduction is true to the original).

A thonier (tuna-boat).

This seems to be of a HAPAG-Lloyd liner, but I'm not sure which one. I'd guess either the Bremen or the Europa, but the white-black paint division on the hull doesn't jibe with what I find in photos of either ship.

The battleship Strasbourg. Marin-Marie was associated with it when it and other French warships were attacked by the British at Mers-el-Kébir.

Norman Rockwell and Chiaroscuro

I should have noted the source at the time, and didn't. But I did read someplace that Norman Rockwell (1894-1978, Wikipedia entry here) lighted his subjects from the direction of the viewer, this minimizing use of shadows. I hadn't thought of that before.

And that's true. Though not entirely.

Many of Rockwell's cover illustrations for the Saturday Evening Post were indeed front-lighted, and I'm not sure why. Perhaps he explained somewhere, but I don't recall having seen an explanation. (Let us know in Comments if there is one.)

Perhaps it had to do with the tastes of the editor and art director, though this is unlikely because Rockwell used this lighting scheme before and following major changes in senior editorial positions at the Post in the years around 1940.

Another possibility is that Rockwell thought he could complete his work faster if he didn't have to spend time working out shadow patterns and their coloring. Or maybe he figured that even a little chiaroscuro (light-shade treatment) would detract from the story he was trying to tell in his illustration.

That said, he was willing and able to use lighting from other angles. Below are examples of both cases.

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Saturday Evening Post cover illustration - 19 November, 1938

Saturday Evening Post cover illustration - 26 July, 1941

Saturday Evening Post cover illustration - 25 December, 1950
These three illustrations show Rockwell's use of front lighting; all happen to be for Saturday Evening Post covers. The bottom illustration includes images of Rockwell himself (with a pipe in his mouth) along with friends and neighbors.

Alcott's Jo - Woman's Home Companion - December, 1937
This is probably a story illustration. Note that Rockwell chose to have a window with bright, though from overcast, exterior light behind his subject. At the same time, he had to fudge real-world lighting by painting Jo's face as though light was shining directly upon it even though it should have been shaded from the comparatively strong light coming through the window. Perhaps there is also an interior light source, say from an oil lamp, though that is not clear from details in the image.

The Lineman - illustration for AT&T advertisement - 1947
Plenty of shading here.

Saturday Evening Post cover illustration - 29 April, 1950
This illustration has been cited (alas, once again I forget where) as an instance where Rockwell introduced a complicated lighting scheme. And it was for a Post cover, of all things.

In the Beginning: Willem de Kooning

Willem de Kooning (1904-1997) is best known for "action" paintings such as his "Woman" series. Below is the first of that line, done around 1950-52.

But this was not his only style. Unlike some others in the postwar New York School, de Kooning had received a fairly rigorous traditional basic art training, as his Wikipedia entry indicates. At the end of his active career, as his mind was deteriorating, he was painting curved dabs of paint on light-colored canvases. Unlike most other New York modernist painters active 1945-1960, de Kooning did not go totally abstract; his work always a connection (however slight) to the observed world, as is exemplified by "Woman I" above. As shown below, he experimented with abstraction a bit during the 1930s and began producing abstract paintings by the 1980s when he began its descent into dementia.

Between his student training in Rotterdam and the beginning of his fame in the early 1950s, de Kooning was busy experimenting with varieties of modernist stylistic traits, such as I discuss in Art Adrift, seeking to find his artistic "voice." Here are some examples:

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Still Life - 1921

WPA mural study - 1936

In his studio - 1937

Two Standing Men - 1938

Seated Woman - c.1940

Elaine Fried - 1940 or 1941

Standing Man - 1942