By Sarah Grace Smith
A quick glance at any newspaper will show that America is a study in contrasts. Everything from politics to socio-economic status to pop culture create divisions that make American culture seem like a pot set to boil rather than a melting pot.
"The American Scene on Paper: Prints and Drawings from the Schoen Collection," on display through May 2 at the Georgia Museum of Art, shows that this phenomenon is not a new one. Featuring artwork from the 1930s, 40s and 50s, this exhibit depicts scenes from everyday life in the mid-twentieth century.
The variety of mediums used and experiences shown create a spectrum of sights and feelings that seem like they could have been taken from life today. Many of the works were created by artists working under New Deal programs during the Great Depression, and as the country works its way out from under the Great Recession, these pieces seem especially pertinent, even 80 years later.
The showcase is divided into sections presenting different themes common in the works, such as regionalism, industry and abstract works. The first room provided a general overview of the artists, introducing their different styles and subject matters through works usually including some sort of self-portrait. The collections features of variety of artists of varying notoriety.
The owner of this collection, Jason Schoen, is an art consultant who has created a valuable resource in his collection, not only for those interested in American art history, but also those interested in the everyday lives of mid-twentieth century Americans.
One such representative piece is Edward Laning's "The Park," created in 1933 with ink, chalk and silverpoint. In sepia tones, the picture shows a playground full of children, some playing marbles, others sliding, some being comforted by concerned mothers. Though the drawing could be a modern day scene, the clothing and lack of modern safety measures place it firmly in the last century. And though the scene is so commonly American, Laning's style brings to mind sketches by Renaissance artists. This juxtaposition of so many factors is common in the exhibit. Though many of the drawings seem simple at first glance, a careful look reveals layers of meaning and craft.
Though most of the works are black and white etchings, lithographs or sketches, this lack of color does not detract from the interest of the pieces. One of the most beautiful and typical works is "Glow of the City," part of the section featuring scenes from the Northeast. The foreground is dark, pierced with spots of light that are lit windows. The background is light but foggy, and the Empire State Building looms in this glow.
The deep contrast between the foreground and background of the picture is a common motif in the collection and offers insight into the feeling of the time. Darkness was close at hand, but the thought of better days to come kept people hoping. The timeliness of this message is almost eerie, and the deep blacks and stark whites make it seem as if ghosts from the past have come to deliver it.
Not all of the works were created with such profound messages. Moments of humor and irony show up often even in works that can seem serious in tone. Many of the artists find humor in the mannerisms of the people they depict or the contrast between expectation and reality.
The gallery's lay-out emphasizes the progress and interplay of ideas. Comic relief comes along at the right moments. Rural gives way to urban, just as American life was at the time. And the more traditional depictions of American life give way to the abstract and surreal.
"The American Scene on Paper" is the museum's second collaboration with Schoen and the Mobile Museum of Art of Mobile, Alabama. In 2003, the museums created "Coming Home: American Paintings, 1930-1950, from the Schoen Collection." America has entered a different era in its history since that time, an era that is more akin to the one shown in this collection. "The American Scene" raises questions about work and art, and shows the beauty that exists in the everyday.
No comments:
Post a Comment