Figuration/Abstraction: Fairfield Porter/Willem De Koonig

Wright State University CORE Scholar

Art and Art History Faculty Publications Art and Art History

1995

Figuration/Abstraction: Fairfield Porter/Willem de Koonig

The Metropolitan Museum of Art

Wright State University

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WILLEM o E KOON ING ABSTRACTION W L L E M D E K 0 0 N N G ABST C N

SEPTEMBER 17 THRO GH OCTOBER 22, 1995

UNIVERSITY ART GALLERIES, W RIGHT STATE UNIVERSITY

CURATED BY 0AV1D LEACH CHECKLIST D IGNED BY THERESA ALMOND

FOREWORD The work of Fairfield Porter defie classification partially due to its directness and seeming simplicity, which ma ks an undercurrent of complexity and mystery-even ambiguity. The term "American Reali t Painter," so often attached to Porter's name, only adds to this difficulty in that the context of Porter's development as an artist was a setting of varied styles and influence . Even among the arti t of the past that Porter admired-Velazquez, Rubens, and Vuillard, to name a few-variation is prominent. Much ha been said about Porter's initial tance a a maturing artist in the I 940s and '50s as being au rebours, or against the grain. As a representational artist, hi work seemed to defy the then-prevalent critical focus of painting, Ab tract Expressionism in particular. In a 1952 correspondence with Lawrence Campbell, however, Porter fo,ted Willem de Kooning, the leading practitioner of that movement, among his influence .

I am painting now under the influence of [Herman] Rose. Last winter I painted under your influence, then one picture under the influence of Jane Frelhcher. A year ago it was Bill de Kooning. They would probably all look the same to you. 1

Though Willem de Kooning pioneered the ab traction of the New York School in the 1950s, he, like most early abstract painters, developed from figuration and the tradition of We tern art in general. Mo t critics would agree that he never completely left the figure, and that all of his work either directly or indirectly allude to the figure, the landscape, or nature. At the very least, de Kooning's evolution from figuration to abstraction is as formally consistent as hi Dutch predecessor, Pict Mondrian. ike Porter, de Kooning had little patience with tatcments made by Clement Greenberg and other critics of the ·40s and '50s which suggested that the figure wa no longer a subject for serious painting. Also like Porter, de Kooning drew inspiration from many different L urce - mo Lly within the traditions of European painting, past and present. The current exhibition aims to compare and contrast a selection of paintings, drawings, and prints by these two di tinctive artists. The focus is on what I perceive as a shared attitude regarding the e entials of image making-especially the painted image-despite the stylistic difference between the two. Each artist drew from a heightened sense of place. Meeting first in New York City in I 939. each developed there, and later migrated to the ea tern end of Long I land. Both the social and physical aspects of their personal surroundings mattered a great deal. And the figure, its tructure and its inherent complex meaning, mingled consistently with the formal issue of painting for both arti ts throughout their career . Specific parallels in terms of these visual attribute include color, a strong interest in shape, and a love for the fast-moving, gestural mark. The yellow ochres and dusty pinks, so characteristic of de Kooning's pallet, predominate in Porter's a well. Their interest in shape, while deriving from different sources, underscore each artist's concern for surface. For de Kooning, this grew out of hb interest in collage, the Cubist and Surrealist artist of the early 20th century, and the early influence of Arshile Gorky. A good example of this inclination is found in his I 942 painting, The Acrobat. Likewise, Porter eems to see shape as fundamental, as the building blocks of an image, and hi source are as diverse as Matisse, Bonnard, Frcilicher, Rivers, and Katz. His 1971 lithograph Girl in the l 'oods, and I 964 painting Woods and Rocks, arc among several of Porter's works in the exhibition that exemplify this ~tance. Porter and de Kooning both liked to move quickly aero the urface in drawing and in painting. There are many paintings or section of paintings by Porter that bring to mind the term ''action painting," a term associated with de Kooning and other Ab tract Expressionists. It is curious that these emphases comprise a visual vocabulary equally suited to abstraction or representation. "Figuration" is the more appropriate term for these particular artists as the word embodie an e ential characteristic of their efforts, transcending the i sue of style.

David Leach Curator of the exhibition

I. John T. Spike. Farrfit•ld Porter: an American Classic (New York: Harry N Abrams, Inc., 1992), pp 106- 7. F I G U R

ACKNOWLEDGMENTS I would like to express my deep gratitude for all those who helped to make this exhibition possible. Fir t and foremost, to all the lenders of art works, private collectors and museums, go my heartfelt thanks. As some private collectors wish to remain anonymous, I will include here only the contributing museums and galleries, though to all those referred to directly or indirectly under Lenders to the Exhibition, please accept my sincere thanks. Within the museums lending works to thi exhibition, I would like to mention everal individual . I extend my thank' to Ida Balboul, m,carch associate, 20th century art, of The Metropolitan Mu cum of Art, New York. for her patient assistance in selecting workl> by each artist from that collection. At the Hir hhorn Mu~eum and Sculpture Garden in Washington, D.C., thanks go to Judith Zilczer, curator of paintings. and Phyllis Rosenzweig, associate curator, for their guidance and prompt re ponse, as well as Margaret Dong in the Office of the Registrar. To Alicia Longwell, registrar at the Parrish Art Museum, 1 give my thanks a well not only for the e particular loans, but for allowing me to view their entire holdings of Porter works back when 1 first tarted to plan tbi exhibition. Last, but certainly not least. I am grateful to Alexander Lee Nyerges, director of The Dayton Art Institute, and senior curator Dominique H. Vasseur for the loan of the great Porter in their collection shortly after its return from a previous loan. With respect to the contributing galleries in New York and the individual collectors they represent, additional thanks go to Andrew Arnot and Eric Brown at the Tibor de Nagy Gallery, Betty Cuningham at Hir chi & Adler Modern, Michael Ro enfeld and Halley Harrisburg at the Michael Ro enfold Gallery, and Eli abcth Ivers at Pace Prints. Lending works that are owned by clients or that arc in the process of being sold is a tricky business, and I appreciate the upport of each of the above. Again, I am most grateful to all of the lender to this exhibition.

Figuration/Abstraction would not have been possible without public funding support, as well ai. the generou a sistance of a number of individuals. The University Art Gallcric at Wright State University greatly appreciates the funding we recci,.ed from the Ohio Arts Council, as well as the grant we received from Culture Workl> in Dayton, which allowed us to produce the D-ROM interactive catalog that accompanies this exhibition. I would like to thank my colleague Ron Geibert for his patience and expertise regarding thi component. My final warm thank-you goes to the private individuals, here in Dayton for the mo t part, who have lifted my spirits with their mo t generous financial contributions toward thi project. They include individual who have a long history of support for the arts in and beyond the Dayton area. Many are collectors themselves. and many have also given of their time and talents to the benefit of Wright State University in the past. Our thanks go to Mr. and Mr . Burnell Roberts, Dr. and Mrs. Ludolph van der Hoeven, Mr. and Mrs. J. Gordon Rudd, and Mr. and Mrs. Robert Stein, all past members of the Community Advisory Board of the University Art Galleries. To Mrs. Wallace Johnson and her good friend , Dr. and Mrs. Eugene 8. Caotelupe, we also extend our deep gratitude. Eugene Cantelupe, dean of the College of Liberal Art at Wright State University from 1971 to 1984. wa a member of the Department of English and the Department of Art and Art History during those years, and it is a personal pleasure to have him directly connected with our program again in thi manner. And finally, with love and gratitude, I thank my parents, Mr. and Mrs. Ralph F. Leach, for all their support and gracious assi lance with this exhibition. Thank you all for your financial contribution a well as your continued enthu iasm for the arts.

David Leach A T I O N

CHECKLIST FOR THE EXHIBITIO

FAIRFIELD PORTER 8. Slretch for "Sunrise on South fain Street". 1973. 1. J hite Tree Stump. 1961. Pen and ink on paper, 11 x 14'/•" Oil on canva , 24'/, x 20" The Metropolitan Museum of Art, New York The Parrish Art Mu cum, Southampton, New York Gift of Mrs. Fairfield Porter, 1973 Gift of the Estate of Fairfield Porter 9. Study for "Wild Apples". 1969. 2. View of Studio with Elm Trunk. 1962. Pencil on paper, 11 x 14" Oil on canvas, 24 x 22" The Metropolitan Museum of Art. New York The Parrish Art Museum, Southampton, Ne\\ York Bequest of Arthur M. Bullowa, 1993 Gift of the Estate of Fairfield Porter 10. Still Life with White Boat . I968 . 3. Young Man in a Doorway. 1959-60. Oil on canvas, 20 x 20" Oil on canvas, 67 x 45'/:" Private Collection, Florida The Parrish Art Mu~um, Southampton, New York Courtesy of Tibor de Nagy Gallery, New York Gift of the Estate of Fairfield Porter 11. Spruce and Birch. 1964. 4. Orvieto. 1967. Oil on canvas, 22 x 24" Oil on canva . 14 x 19" Courtesy of Tibor de Nagy Gallery, New York The Parrish Art Museum, Southampton, New York Gift of the Estate of Fairfield Porter 12. On•ieto (II). 1967. Oil on canvas, 14 x 18" 5. Jerry on a Stool. 1957. Courtesy of Tibor de Nagy Gallery, New York Oil on canvas, 38 x 20'/:" The Metropolitan Museum of Art, New York 13. The BaJ•. 1964. Beque t of Arthur M. Bullowa, 1993 Oil on canvas, 45 x 45" 6. Donald Schrader. 1962. Private Collection, Pennsylvania Oil on canvas, 30 x 28" Courtesy of Tibor de Nagy Gallery, New York The Metropolitan Museum of Art, New York 14. Boats in the BaJ•• 1961. Bequest of Arthur M. Bullowa, 1993 Pencil on paper, 12 x 17" 7. Sutch/or ''Near Union Square Courtesy of Tibor de Nagy Gallery, New York Looking Up Park Ai•enue". 1973. 15. Wood and Rocks. 1964. Pen and ink on paper, 9 x 12" The Metropolitan Museum of Art, New York Oil on canva , 24'/8 x 22" Gift of Mr . Fairfield Porter. 1979 Courtesy of Hirschi & Adler Modern, New York A B S T R

16. Breakfast in Maine. 1954. 24. Southampton. c. 1955. Oil on canvas, 25'!: x 35" Pencil on paper. 15 x 20" Counesy of Hirschi & Adler Modern, New York Counesy of Michael Rosenfeld Gallery, New York

17. Self-Portrait. 1968. 25. ntitled (Seated Woman Oil on canvas. 59 x 45'/," Reading with Lamp). undated. The Dayton An lrn,titute, Ohio Pencil on paper, 17 x 14" Mu,eum purchase with funds provided by the Counesy of Michael Rosenfeld Gallery, New York National Endowment for the Art and variou1, matching funds. 1973 26. Ocean, first state (Ocean I). 1973. Three color lithograph, 22'/. x 30" 18. Boat and Par/ad Cars. c. 1960. Private Collection, Dayton, Ohio Charcoal on paper. 12 x 18" Counesy of Hirschi & Adler Modern, New York 27. Sun and Sea (Bl11e S11nrise). 1975. Four color lithograph. 30 x 22'/•" 19. Hou eAmong Trees. 1962. Private Collection, Dayton, Ohio Ink on paper, 8¼ x I(}'/." Counesy of Michael Rosenfeld Gallery, New York 28. The Dog at the Door (Boo Boo at the Door). 1971. 20. ntitled (Viett· Through Interior Window). Seven color lithograph, 30 x 22" undated. Private Collection, Dayton, Ohio Ink on paper, 9 x 5,/," Counesy of Michael Rosenfeld Gallery, New York 29. Girl in the Woods (Green Girl) (Under the Elms). 1971. 21. Lizzie the Infant. 1956-57. Seven color lithograph. 32'/• x 24'/:" Pencil on paper, 20 x 14" Private Collection, Dayton, Ohio Counesy of Michael Ro cnfeld Gallery, New York 30. The hristmas .Tree 22. ntitled (Portrait in Profile). undated. (Interior with Christmas Tree) Pencil on paper, 17 x 14" (Interior). 1971. Counesy of Michael Ro cnfeld Gallery, New York Seven color lithograph, 29'/• x 22'/•" Private Collection, Dayton, Ohio 23. ntitled (Coastline). 1962. Pencil on paper, 8¼ x 10'/•" 31. The Table. 1971. Counesy of Michael Rosenfeld Gallery, New York Six color lithograph, 32 x 23½" Private Collection, Dayton, Ohio A C T I O N

WILLEM DE KOO 'L G 38. Landing Place. 1971. Lithograph, 28 x 37" 32. Studie of fen. c. 1939. Courtesy of Pace Prints, New York 1 Pencil on paper, 11 x 13 /," The Metropolitan Museum of An, New York 39. Valentine. 1971. 1 and the heirs of Thomas B. Hess, 1984 Lithograph, 37 x 29 /:" Courtesy of Pace Prints, New York 33. Study for Seated Man (Self-Portrait). c. I 939. 40. Sting Ra>'· I 971. 1 x Pencil on paper, 14 /. x I I'/•" Lithograph, 5)1/z 37" The Metropolitan Museum of An, New York Courtesy of Pace Prints, New York and the heirs of Thomas B. Hess, 1984

..,.,.,.,.., by lb< Office o( Pul>bc lldaltON 34. The Acrobat. c. I 942. 256J(J(WW7.J89 AU95'3M Oil on canvas, 35'/i x 251/:" The Metropolitan MuM!um of An, Ne\\ York Gift of Thoma B. Hess, in memory of Audrey Stern He~s, 1977

35. Figure in Landscape No. 2. 1951. Oil and pencil on paper. mounted on fiberboard, 33 x 15 1/z" Hir hhorn Museum and Sculpture Garden, Smith onian Institution, Washington, D.C. Gift of Joseph H. Hir hhorn, 1966

36. lfoman. 1966. Oil on paper, mounted on cardboard, 38 x 23'/." The Metropolitan Museum of An, New York Gift of Longview Foundation, Inc., in memory of Audrey Stem Hes~, 1975

37. l oman at Clearwater Beach. 1971. 1 Lithograph, 28'/• x 40 /:" Courtesy of Pace Prints, New York LENDERS TO THE EXHIBITION Credits for cover photographs: The Dayton Art Institute, Dayton, Ohio Left de Koo11111g Willem I 1904- I The Acrobat. c 1942 Hirschi & Adler Modern, New York Oil 011 canvas The Hirshhorn Museum and Sculpture Garden, H 35 . W 25 111 Smithsonian Institution, Washington, D.C. The Metropolitan Museum of Art. Gift of Thomas B Hess 111 memory of The Metropolitan Museum of Art, New York Audrey Stern Hess. 1977 11977 474) Pace Prints, New York Right Porter. Fa1rf1eld 11907-19751 The Parrish Art Museum, Southampton, New York Jerry on a Stool. t 95 7 Michael Rosenfeld Gallery, New York 011 on canvas H 38. W 20 1n Tibor de Nagy Gallery, New York Signed and dated 1io1"1er left) Fa1rf1eld Porter 57 Private Collectors Tile Metropolitan Museum of Art. Bequest of Arthur M BullOl'IJ. 1993 I 1993 406 111

00 Wright State University ~ Dayton. Ohio

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