An Exhibition of Portraits by Alice Neel
An exhibition of portraits of the family by Alice Neel, one of the finest painters of her generation, is at the Norton Museum of Art February 14 through March 29, 1998. Both critics and the subjects of her paintings have written of Neel's ability to portray the dynamics of relationships. Kinships focuses on particular family relationships: siblings, domestic pairs, parents and children, and members of her own family. The exhibition was organized by the Tacoma Art Museum, and is sponsored by The Elizabeth Norton Society.
Born in 1900, Alice Neel worked as a figurative painter during the decades of WPA realism, postwar abstract expressionism, and 1970s minimalism. She persevered in her work despite a turbulent personal life that included a year of hospitalization after a nervous breakdown, the destruction in 1934 of over two hundred and fifty paintings and drawings, and little attention to her work until the 1960s. Her art demonstrates a vigorous working manner, an unsparing skill in observation and a generous tolerance for the unpredictability of human nature.
Neel disliked being called a portraitist, but rather labeled herself as a "collector of souls." She believed that each person has an identity, an essential core of personality, and it was this that she sought to reveal in her paintings. She often captured aspects of relationships of which her subjects were not aware, and combined in her work her stringent analysis of their interactions with a broad acceptance of the depth of human emotions. She painted her subjects as distinct individuals, in the poses that were natural to them; poses that, in Neel's words, "involve ... all their character and social standing ... what the world has done to them, and their retaliation."
The compositions, as well as the subjects' body language, of such works as The Black Spanish American Family or Annemarie and Georgia, allows the viewer to observe how family members draw together tenderly or reluctantly, look away, touch one another, draw back, or open up. The arms of the parents often encircle their children in Neel's paintings. The early Mother and Child, Havana, 1926, uses this pose to depict a simple, secure relationship.
However, in later works, such as Mother and Child (Nancy and Olivia), 1967, the poses are more attuned to the ambivalent emotions present in...
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...t on Neel's own art. No better evidence exists than her portraits of pregnant nudes. It was a subject she first approached in 1964, ultimately painting a total of seven such portraits, with Evans's being her last. The subject had a powerful resonance at a time when women were newly educating themselves about the form and function of their anatomies. The Boston Women's Health Book Collective published Our Bodies, Ourselves in 1973, while Adrienne Rich's classic Of Woman Born: Motherhood as Experience and Institution appeared in 1976. As opportunities for women widened dramatically, debate and discussion about their biological destinies and responsibilities intensified. Neel's paintings of pregnant women offered no clear opinions or solutions. But, in retrospect, as with all of Neel's best work, Margaret Evans Pregnant endures as both a portrait of a person and a picture of a time.
Ann Temkin is the Muriel and Philip Berman curator of modern and contemporary art at the Philadelphia Museum of Art. She organized the Alice Neel exhibition that opens at the Whitney Museum of American Art next month and travels to the Philadelphia Museum of Art, February 18 through April 15, 2001.
Vera Olivia Weatherbie was an accomplished painter in her own right, regarded more so now than during her lifetime. She was born in 1909 in Vancouver and attended Brittania Secondary School. She grew up in the Strathcona neighbourhood near Chinatown in Vancouver’s East end. Her parents were strict, conservative Presbyterians, yet somehow she was able to persuade them to let her attend the Vancouver School of Decorative and Applied Arts (VSDAA) at the young age of 16.
· 1999: Private commissions (2). Continues to work on paintings for traveling exhibition, Visual Poems of Human Experience (The Company of Art, Chronology 1999).
The Popol Vuh doesn’t fall short in referencing and glorifying maize. One such reference in the Popol Vuh categorizes maize as a way to determine fate; if an ear of maize is planted and dries up, it indicates death. The article, “The Flowering of the Dead” concludes, “In Atiteco religion, ‘Flowering Mountain Earth’ is a place at the world’s centre whose primary manifestation is a maize plant or tree.” (Carlsen 27). A “Flowering Mountain Earth” is the center of the world that represents life, beauty, and the gods. Among this place, maize is an important object that animates and projects the qualities of a Flowering Mountain Earth. Maize is axis mundi, the center of the world. It is a staple crop in the Maya people; it is essential to the people and heavily relied on. The Maya saw maize as a fetish that truly gave them everything. Without it, everything that ties the Maya together falls apart. Successful growth of maize represents the life and well-being of the Maya, while a dying maize plant all but points to death and the failure of civilization. It is with the importance of maize in Maya culture, that it is omnipresent throughout the Popol
Prior to the 20th century, female artists were the minority members of the art world (Montfort). They lacked formal training and therefore were not taken seriously. If they did paint, it was generally assumed they had a relative who was a relatively well known male painter. Women usually worked with still lifes and miniatures which were the “lowest” in the hierarchy of genres, bible scenes, history, and mythological paintings being at the top (Montfort). To be able to paint the more respected genres, one had to have experience studying anatomy and drawing the male nude, both activities considered t...
Art could be displayed in many different forms; through photography, zines, poetry, or even a scrapbook. There are many inspirational women artists throughout history, including famous women artists such Artemisia Gentileschi and Georgia O’Keeffe. When searching for famous female artists that stood out to me, I found Frida Kahlo, and Barbara Kruger. Two very contrasting type of artists, though both extremely artistic. Both of these artists are known to be feminists, and displayed their issues through painting and photography. Frida Kahlo and Barbara Kruger’s social and historical significance will be discussed.
The most important idea in Allen J. Christenson's Popol Vuh is maize or often known as corn but to the Maya culture, corn has a bigger significance than just food. Corn has played a important role in empires, civilizations and people for thousands of years. The Maya have a lot of admiration to corn as a cornerstone of their culture and spirituality. Maize was so highly admired that the Mayans had a Maize God. Corn was a gift from the Gods and cultivating it and planting it was a sacred duty it was a really important process in which corn was to be planted and harvested. Temples were built for Maize Gods and corn was used to nourish workers and kings. To the Mayans, the Gods made humankind out of maize. The Maya also considered this crop to be the vegetation of life in order to eat and grow. This symbolized the fragile nature of corn, a crop that depends entirely on human cultivation for its reproduction with such deep meaning and that has deep culture and meaning.
Fish, meat from hunting and other gathered foods still made up for the majority of their diet.[3] The Maya at Cuello subsisted primarily on shell fish, deer, several small mammals, corn, beans, squash and a variety of other plants. So even though these Maya settlements had transitioned into early preclassical agriculture, they retained a degree of their archaic hunter-gathering practices.
In the early centuries A.D., the Mayan peoples began building their civilization in the center of Mesoamerica. This location allowed the Maya to conduct trade and exchange their local products. They also participated in the slash and burn method, however, evidence shows that they may have developed other methods such as planting on raised beds above swamps and on hillside terraces. Not only did location have an influence on agricultural life, it also had an influence on all other aspects of life. The Maya drew influence from a neighboring society, the Olmec. The Maya blended their customs with the Olmec to create a culturally diverse society. These Olmec customs had quite an influence on other aspects of the Maya society. The Maya had a polytheistic religion with gods of corn, death, rain, and war. These religious beliefs led to the development of calendars, astronomy, and mathematics. The Maya developed two types of calendars: religious and solar. The religious calendar was based on the belief that “time was a burden carried on the back of a God.” The solar calendar was based on the observations of the sun, planets, and moon. Unlike our calendar today, it was consisted of twenty-five da...
In the Central America, most notably the Yucatan Peninsula, are the Maya, a group of people whose polytheistic religion and advanced civilization once flourished (Houston, 43). The Maya reached their peak during the Classic Period from around CE 250 to the ninth century CE when the civilization fell and dispersed (Sharer, 1). Although much has been lost, the gods and goddesses and the religious practices of the Classic Maya give insight into their lives and reveal what was important to this society.
The Mayan culture can be traced back to 1500 BC, entering the Classic period about 300 AD and flourishing between 600 and 900 AD. The basis of the culture was farming. They cultivated food crops such as maize (corn), beans, squash, and chili peppers. They also cultivated cash crops such as cotton and cacao (Palfrey 1). Maize was the principal food of the Mayas and maize production was the central economic activity. The Mayas, forced to cultivate in a tropical rain forest, used slash and burn agriculture. The growth is so rapid in the rain forest that the nutrients provided by dead plants and animal feces get used very quickly. This causes the soil to be unfertile within a few years. The Mayans would then have to use new land. Because of this, the Mayans required huge amounts of land to feed their people. The population, throughout the Classic period, remained small. Slash and burn agriculture is also labor intensive. It required the people to spend an average of 190 days in agricultural work (Hooker 4). Despite the difficulty of this labor, the remainder of the year was used to build ...
The Mayan civilization was located in southeastern Mexico on the Yucatan Peninsula. One of the first American civilizations, it lasted from about 1000 B.C.-1542 A.D. Their civilization flourished during the Sixth Century. They built many temples and over forty cities. The Mayan population consisted of almost fifteen million people who were all living in one of the many cities. The Mayan people were extremely religious and believed in multiple gods which meant they were polytheistic. Their most commonly worshiped god was the Maize God, or god of corn, as corn was the most grown and most relied on crop. The Mayans grew all of their own food so they needed to have useful farming methods. The one they used most often was the slash and burn method, which involved cutting down trees and burning them to make the soil fertil which was necessary to grow crops. This method worked for many years, but soon started to backfire. The Mayans were ahead of their time, but that did not prevent their mysterious decline which occurred between the years 800 A.D.-900 A.D. Although it is not known exactly why the powerful empire fell, but there are various probable theories. The mysterious decline of the Mayans may have been caused by
Adèle Ratignolle uses art to beautify her home. Madame Ratignolle represents the ideal mother-woman (Bloom 119). Her chief concerns and interests are for her husband and children. She was society’s model of a woman’s role. Madame Ratignolle’s purpose for playing the pia...
Aristotle once claimed that, “The aim of art is to represent not the outward appearance of things, but their inward significance.” Artists, such as Louise-Elizabeth Vigée Le Brun and Mary Cassatt, captured not only the way things physically appeared on the outside, but also the emotions that were transpiring on the inside. A part no always visible to the viewer. While both artists, Le Brun and Cassatt, worked within the perimeters of their artistic cultures --the 18th century in which female artists were excluded and the 19th century, in which women were artistically limited-- they were able to capture the loving relationship between mother and child, but in works such as Marie Antoinette and Her Children and Mother Nursing her Child 1898,
Self-Portrait with Two Pupils, Marie Gabrielle Capet and Marie Marguerite Carreaux de Rosemond was done Adelaide Labille Guiard in 1785. It was done in Paris, France and the medium is oil on canvas. Adelaide Labille Guiard was born in 1749 and died in 1803. She was one of few to practice and master at miniatures, pastels and oil paintings. Due to male dominance in these practices, women were not accepted as pupils, due to society perception that women are not able to follow instructions as easily as men.
The Maya civilization is one of the most original and rich ancient populaces in the world. It is a group of varied ethnicities, common in some traits, but diverse in languages, customs and in history.1 By using the word "Maya " We can give two meanings. The first, of a civilization that flourished from the 4th century B.C. and it had its decline in the 7th century A.D. in what is known as the classical period resurgent in the post-classical period. And the second meaning refers to a people and culture that continues to exist to this day representing a tradition of more than 2000 years.