Saturday, September 25, 2010
Thomas Dewing
Studying the American Aesthetic art movement in class and, we talked over major artists of that time such as Winslow Homer, James Whistler, a little bit of William Chase. The Aesthetics' rejected the traditional need for moral value and meaning in a work of art--art for art's sake became the motto! Organization of color and shape became what was important to please the eye and the mind. Going back over the reading selections from American Art, an artist that I couldn't remember talking about was Thomas Dewing. I found the one painting shown of his, After Sunset, tweaked my fancy and was resolved to discover more.
Thomas Dewing (1851-1938) was born in Massachusetts, studied art in Paris, returned to live in New York, and spent his summers with the Cornish Art Colony. While rejecting some of the artistic traditions still upheld in--and because of--high society, Dewing created his paintings for their benefit and catered to their tastes in many ways. His paintings of richly dressed women (one seen above) abound.
His paintings remind me of a gauzy dream: the clearest details are given to the figures of his slightly removed women and all around them is a haze of smokey tones. Dewing is said to be "under the spell of the Aesthetic movement and the tonalist technique of Whistler" (American Art pg. 290). Tonality in art connects objects in a harmonious atmosphere of color--without tone, objects would be stark and jutting. This dreamlike atmosphere is enhanced by unnatural poses. Rarely can we find a figure in his paintings who does not look affectedly posed.
The prevailing theme in his works is of a small group of women (1, 2, or 3) set against a inconsequential, fairly solid background. In American Art, the descriptive panel reads, "this painting was partially inspired by...Dante Gabriel Rossetti whose sonnet...asked the question of what awaited the individual soul after death" giving the reader the idea that perhaps the painting they are looking at has added meaning behind it. This seemed ironic to me because that is exactly what I imagine Dewing, himself, being against! Added meaning. If he truly was such a fan of the Aesthetic movement, why would he not follow the standard of putting no moral story behind the image? Non-narrative seems to be the thought that comes to my mind if I were to look at his paintings--especially in conjunction with one another. I would have to stretch to imagine what he was trying to narrate. I am ever grateful for the "partially inspired" in the text that saves Dewing from being the laughing-stock of the Aesthetic society.
Thursday, September 23, 2010
First American Hum Blog!
The Hopeful Destruction
Change is on the horizon. As the torch of societal power is passed from the hands of the baby boomers into the hands of the rising "millenial," or "We" generation (those born between 1978 and 200), new voices are heard. Plans for the future—hopes for the future—begin to form in each young mind. Friend talks to friend of possibilities; what may lie in the future! The pathway can look bright! Together, as a millenial generation, a readjustment of this American countries pathway will be made. Much ado is made over the power this generation has. Smiles are cockily flung around. Something there is that rises out of the soul and shines in defiance of the facing wall that must be chopped down between those very smiles and the actual attainment of the glorious future that lies behind the wall—which is the cause of all these patriotic smiles. High, outstretched hand meets another high, outstretched hand in jubilant crash (hand-shakes are old and out; high-fives have overshadowed and are only one of the many marks of the coolness of these younguns). The passing of the torch is celebrated in home, school, political occasions, and by means of the media. Those who hesitate in giving their rapt support are labeled as old fashioned and close-minded. The ego of the "We" generation must scoff at any who cling to mere traditional philosophies that sink this nation.
The day for filming a short, five minute, inspirational clip on the subject of uniting the "We" people has come with much excitement. Dreams of spreading news of empowerment and unification to all youth gleam in the eyes of those who volunteer to share their words of conviction. Diverse ages and ethnicities gather to join in—this will be big and glorious! Filming begins. Shots of individuals come together smoothly. News that "A new generation is coming to power" is spoken; they are "unlike any that's come before us!" "We are more globally oriented. We're more ethnically diverse. We're more technologically adept. Better educated. Less politically partisan. " What’s more, they are socially tolerant, peace loving, volunteer in record numbers, etc… After showing clear evidence of the unmistakeable merit and worth, the "We" generation has, a sad gloom is cast over the bright rays of light that have made such a shining appearance thus far in the filming. “And we're the first generation in American history to inherit a nation in decline.” The "Wes" are faced with problems not of their own making that threaten their future. "Our inheritance has been squandered." "We, the youth of the united states, believe our birthright has been betrayed." Despite obvious hurdles to overcome, they contine the clip by saying, "once unified, we can control America's political landscape." The situation is controlable and "we must end the perception of America as an arrogant and greedy nation!" That's taking the bull by the horns! This generation will go on to right the wrong that is their "betrayed birthright." They have the ability to unite and make changes that will lead to their gain (http://www.huffingtonpost.com/eric-greenberg/generation-we-under-30-vo_b_138613.html).
At the close of this filming, Eric Greenberg, the author of an article that so stupendously documents this new rise of power, is speaking, in his wisdom, into the camera. He witnesses that these young people will be able to turn the country around and throw off the mantle of folly given to them by wayward parental judgement. The short clip looks as if it would be everything good and wonderful: change, hope, turning a new leaf, and leaving behind erring thoughts of previous generations are all well-represented themes.
In the midst of Greenberg's stimulating comments, an old man comes up behind his chair. "They believe they can restore the American dream," concludes Greenberg. The director is wondering who let this old hag in and thinks of calling for security. Surely, he must have escaped from the rest-home located a few blocks away. Old men are funny folk. The youth sitting around glance up at him and are instantly disgusted with the seemingly thousands of wrinkles that hang from his face—and those wobbly jowls! He looks tired and worn...he must not be aware of that wart on the side of his neck. Everyone agrees that it must be old-ignorance that kept him from removing that wart there. Greenberg is slightly amused with this old man, he notices that the man looks as if he wants to say something! Camera still rolling, Greenberg kindly motions for him to speak.
The old man looks, with disheartened, eyes into the fancy, shining, new camera. His voice breaks the curious silence in stronger tones than any there would have imagined:
"I have come from the rest home two blocks south and three blocks east—" several guffaws are heard from a young man or two sitting close at hand, "—I've been listening, in that corner over there, and I thought I would restate what I believe you all to mean by your passionate statements of political conviction. I can only think that either I have misunderstood or you, yourselves, do not truly understand your own words!"
"There are meanings that must proceed from your words, though they have not been spoken. You build yourselves up—with no thought of who you tear down! It is a gift to build up without stealing from the height of others. I converse daily with those who have added greatly to this country's well-being. Do you not know them? The veteran, who fought with loving earnestness for his freedom. The grandmothers, who taught there children good principles of love and moral correctness. The grandfathers, who labored long and arduous days for his family and financial security—and for the security of country. Knowing their minds, I would act as a an advocate of theirs and restate your short video in a different light."
"We are the generation that must put behind us all the mistakes of the path. Our fathers and there fathers, lacking in knowledge and hard work, must not live on in our thoughts. There deeds deserve no recognition in face of the bright future which we will build. The lessons that our ancestors before us have passed down to us must be disregarded. The workings of history are for naught in face of our new victorious plan. The salvation of this country is in our own hands—it will be completely our accomplishment as a generation. They have cheated us of our birthright. We were born with a right, though those before us have had to work for what they wanted, it should have been given to us. We spit upon the faces of our much homelier ancestors who brought us into this land. We discredit their opinions. Stand with us as we tear down and rip apart what are fore-fathers stood for. Let us give no thought to past generations—it is our time and it is about us! Stand with us as we mock them with our actions and disdain for what they have done. Let no memory of past goodness be remembered. Those who have given their lives for this country, give them no due. Those who have served this country, scoff at how little they achieved. Uproot all the injustices they have committed against us! We are brilliant. We can do all. We need change. Move on with no look behind."
With much trembling and solemnity, the old man, in grief, makes his way out the door in silence. Noone knows if he is ghost or man, who spoke so sharply. He certainly looked old enough for anyone there to believe that he could not possibly belong to this modern world and the life here.