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18701970 the Metropolitan Museum of Art for IMMEDIATE RELEASE New York, N.Y

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18701970 the Metropolitan Museum of Art for IMMEDIATE RELEASE New York, N.Y 18701970 The Metropolitan Museum of Art FOR IMMEDIATE RELEASE New York, N.Y. 10028 212 879 5500 FACT SHEET: TWO WORLDS OF ANDREW WYETH: KUERNERS AND OLSONS Title: Two Worlds of Andrew Wyeth: Kuerners and Olsons Press Preview Tuesday, October 12th, from 10:00 a.m. to noon. Dates: Saturday, October 16th,through February 6th, 1977 Sponsor: The exhibition has been made possible by a generous gift from Mr. and Mrs. Joseph E. Levine. Mr. Levine is the well-known motion picture executive and has been a close friend of the artist for 15 years. Exhibition: Two Worlds of Andrew Wyeth: Kuerners and Olsons will be a major exhibition of the work of one of America's greatest living artists. The exhibition will be organized around key paintings from the two environ­ ments that have dominated Wyeth's vision throughout his career: the Kuerner farm at Chadd's Ford, Pennsylvania, and the Olson house and farm in Cushing, Maine. Among the well-known paintings on view will be Brown Swiss, Snow Flurries, Evening at Kuerners, Ground Hog Day, Wind from the Sea, Christina's World, and Weather Side. For the first time not only the finished paintings will be shown, but also the studies -- the preliminary drawings and watercolors -- which lead to the finished tempera paintings. By showing the finished pictures with their studies the exhibition will offer the viewer the chance to see how Andrew Wyeth has achieved his subtle, profoundly abstract realism. Thomas Hoving, Director of the Metropolitan Museum and organizer of the exhibition, has said: "For forty years Andrew Wyeth has been a serious and highly acclaimed practioner of an observed non-photographic American realism. In this show, unknown sketches, drawings and watercolors which reveal Wyeth to be an intuitive artist will be shown with the more highly finished temperas by which, for the most part, he has chosen to be known. "I am delighted," Hoving continued, "that Mr. Wyeth is working closely with the Museum on all aspects and (MORE) FACT SHEET: TWO WORLDS OF ANDREW WYETH: KUERNERS AND OLSONS PAGE 2 details of the show from preliminary planning right through to its opening." Andrew Wyeth has been for decades one of the most popular contemporary artists, but at the same time his paintings have been somewhat misunderstood. Typical responses range from citing his works as honest bulwarks of clarity against effete, degenerate, abstract art, to calling his work sickeningly popular, purposely reactionary and coldly trite. Such responses are based upon less than careful examination of the paintings. This exhibition will attempt to reveal something of the nature of Wyeth's art, to complicate, rather than simplify, the visitor's response to it. The exhibition will take its form from a series of conversations between Messrs. Wyeth and Hoving. These conversations constitute the bulk of the heavily-illustrated exhibition catalogue, and they are Wyeth's first substan­ tial discussion of his art to be published in 15 years. Both the catalogue and the exhibition must be considered a preface to future things for it is the Museum's inten­ tion to prepare a catalogue raisonee of all of Andrew Wyeth's production at Kuerners and Olsons. The exhibition is being organized by Thomas Hoving, Director of the Metropolitan Museum, with the assistance of John Buchanan, Special Asssistant to the Director and Registrar; John K. Howat, Curator of the Department of American Paintings and Sculpture, is coordinator; the installation is being designed by Jeffrey Serwatien, staff designer in the Design Department. Background on Wyeth and excerpts from the catalogue: Andrew Wyeth was born the youngest child of the famous illustrator N. C. Wyeth. The elder Wyeth guided his son's artistic training with great sensitivity. At first the boy Andrew, who had great natural ability, roamed at will over the Pennsylvania hills, painting and drawing with a wild, free enthusiasm. When Andrew was 16 his father took him into the studio and introduced him to academic training. Slowly Andrew became fascinated with the precise observation of academic discipline. Wyeth said of this in the exhibition catalogue: "I got as intoxicated by it as I had been by throwing paint and ink around exuberantly in my earliest work. I suddenly realized that I wasn't after an image of something or an illusion of something. I quite literally wanted to have — in my own vision of it, of course, — the real (MORE) FACT SHEET: TWO WORLDS OF ANDREW WYETH: KUERNERS AND OLSONS PAGE 3 object itself, or at least primarily the real object and only a little illusion. It was, in a sense, an almost primitive point of view, somewhat similar to the works of the Italian primitives of the 13th and 14th centuries." When he was 18 or 19, Andrew had his first New York show of watercolors. It was a great success and gave him confidence, but he felt he was still too deft, too free. He returned to the training of his father's studio for some years more. One of the results of Wyeth's training, of his intense concentration on capturing an object, is a quality in his art which Hoving called in the exhibition catalogue "aroundness: the feeling that everything, whether it's a hill or a house, a figure or a branch of a tree, has been observed from all sides, many times, and locked into Wyeth's memory." Wyeth's well-known technical ability is sometimes seen as the goal of his art rather than as merely a tool. But, as Wyeth said: "Technique is not what interests me. To me, my art is deeply the question of whether or not I can find the thing that expresses the way I feel at a particular time about my own life and my own emotions, The only thing that I want and search for is the growth and depth of my emotion towards a given object. In that way I free myself from the bonds of routine technical quality." Wyeth works in four media: drawing, watercolor, dry- brush and tempera. Each medium is extremely important in expressing the various natures of his personality and the various aspects of a subject. For Wyeth, pencil drawing is a very emotional, quick, very abrupt medium, which he likens to fencing. Watercolor perfectly expresses the free side of his nature. Drybrush has another quality and is intermedi­ ate between the free drawing and watercolor and the exacting discipline of tempera. Part of Wyeth's admiration for Durer comes from his profound appreciation of the Renaissance master's beautiful drybrush paintings. Tempera requires a slow, building, "weaving" process. He loves the natural colors of tempera pigments and the quality which Wyeth has called "dryness—almost a lost feeling. There is some­ thing very beautiful and enduring about tempera." He completes perhaps two temperas a year. Andrew Wyeth has been profoundly influenced by the environments in which he has lived. Except for an early boyhood in Needham, Massachusetts, he has spent most of his life around Chadd's Ford, Pennsylvania, and Cushing, Maine. (MORE) FACT SHEET: TWO WORLDS OF ANDREW WYETH: KUERNERS AND OLSONS PAGE 4 He has never travelled. "I'm not much for the new thing or the new object, he said. There are always, new.emotipns in going back to something that.I know very well. I suppose, this is very odd, because most people have to find fresh things to" paints To make an old thing I've seen for years seem fresh is much more exciting to me." Of the essential environments in Wyeth's life, Kuerners in Pennsylvania and Olsons in Maine are probably the most important. Described briefly: "One has the colors of Pennsylvania and the surrounding area, the strength of the land, the enduring quality of it, the solidity of it; the other is spidery if you wish, light in color, windy perhaps, sometimes foggy, giving the general impression sometimes of skeltons rattling in the attic." Wyeth has known Kuerners Farm all his life --he was born just over the hill -- and he wandered all over it as a boy. He has always come and gone at will, using all parts of the house and farm as informal studios. Wyeth has always liked what he calls the utilitarian, abstract, quality of the farm, where everything has a use. Wyeth has deep emotional envolvements with the place. N. C. Wyeth was killed on the railroad tracks which run through the farm, and which appear in some of his son's pictures. Wyeth always had a close relationship to the Kuerners, who came to Chadd's Ford from the Black Forest after the First World War. Karl, the hunter and former soldier, liked to shoot things. His wife Anna disliked guns and all they imply. Their person­ alties charge many of Wyeth's pictures from Kuerners, which are often rather somber in tone. Although Wyeth had known the coast of Maine since childhood, he did not meet Christina Olson and her brother Alvaro until he was 22. He was introduced to them by his future wife, Betsy James, who had been close to Christina all her life. Wyeth was immediately assimilated into this environment just as he had been at Kuerners. Wyeth said: "The world of New England was in that house overlooking the mouth of the George River. Its emotional effect was powerful upon me. I'd go down there by boat early in the morning and stay there all day long. And that is where I painted the first Christina, Wind from the Sea, Seed Corn, and so on.
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