My Favorite American Beauties Re-Captured

Long ago, I purchased a book that has cheered me up, inspired me, and given me some goals to aspire to. The title: “American Beauties; Women in Art and Literature” with photos of paintings and artwork from the National Museum of American Art, and the Smithsonian Institution, Edited by Charles Sullivan.

I wish I could share the entire book with you. Works of art are matched with literary selections which make the viewing of the piece more interesting and complete. The purpose of this collection is to illustrate beauty “broadly defined” of American women.

“The Girl I Left Behind Me” was painted by Eastman Johnson sometime in 1870-75. It is an oil on a 42x347/8 canvas. The painting was illustrated with an anonymous song by the same name.  Energy is created by the wind and the ocean where wave’s crash and tumultuous skies roll past the young girl who is standing on a cliff longing for her lost love.

The next painting by Theodore Robinson 1887 is called “At the Piano; oil on 16.5x25.25 canvas. It is paired on the page with a poem called “The Day is Done” by Henry Wadsworth Longfellow.

…”Who through long days of labor, and nights devoid of ease, still heard in his soul the music of wonderful melodies. Such songs have power to quiet the restless pulse of care, and come like the benediction that follows after prayer. . . And the night shall be filled with music, and the cares that infest the day, shall fold their tents like the Arabs, and as silently steal away.”

No artist can compare to John Singer Sargent for the painting of portraits. Here is Elizabeth Winthrop Chapman following her marriage in 1898. The porcelain skin color of the period and the expectations for women to be delicate and refined are captured here.

Harry Siddons Mowbray’s painting “Idle Hours, 1885” Oil on 12x16 canvas portrays women as having too much time on their hands. Ezra Pound’s poem “An Immortality” is used as illustration:

“Sing we for love and idleness, Naught else is worth the having. Though I have been in many a land, There is naught else in living. And I would rather have my sweet, Though rose-leaves die of grieving, Than do high deeds in Hungary to pass all men’s believing.”

The women in the painting would probably flutter and faint seeing today’s women “bring home the bacon,” “cook the bacon” all while pleasing a husband and taking care of the children, the laundry, and the home. They never dreamed of “role reversal” or men who would be willing to share the responsibilities.

Mary Cassatt is one of my favorite artists. Her “Sara in a Green Bonnet” 1901, oil on 16x13.5/8 canvas captures the impish smile of the mischievous girl behind all that frippery.

Lara Wheeler Waring’s portrait of “Anna Washington” who was most likely “hired help” in 1927 is an oil on 20x16 canvas. The poem “Old Mary” by Gwendolyn Brooks was used in illustration:

“My last defense is the present tense. It little hurts me now to know I shall not go Cathedral-hunting in Spain nor cherrying in Michigan or Maine.”

The painting captures the look of resignation and longing in Anna Washington’s face. We feel for her. We want to wrap our arms around her and comfort her.

My own pastel painting "Tansy's Pride" shows a more confident woman who is not only self assured, but comfortable in her own skin. Prints are available for purchase at http://carol-allen-anfinsen.artistwebsites.com 

Choose your Preference: Experienced, Mature, or Seasoned Professional?

"Release" 24 x 30 mixed media on canvas. (Currently adding two smaller side panels)

The “Old Masters” offered artists the fundamentals of drawing, painting, and envisioning. Today we shun the label “old” preferring “mature” or “seasoned” to describe our depth of Professionalism, whether as an athlete, a writer, a musician or an artist; it’s all in how you look at it.

In reading the “Life of Pi” this statement caught my eye: “Life can either be a dry, yeastless factuality, or the better story.”

I don’t know about you, but I want my life to be the “better story!” I want everything I do to reflect what I am and who I am. I want my voice to resound with truth and clarity. I want my paintings to sing, my words to dance, and my vision to connect with others. I want to live my life with passion and enthusiasm.

Still, in comparison to the Masters, I’m a novice. I’m still a student learning from my mistakes, and struggling to become better.

"Cafe Costa Rica" acrylic on 20 x 20 canvas in floating frame

In an article written by J. Thomas Soltesz called: “Everything I Need to Know I Learned in Kindergarten” posted in the April 2007 issue of “the artists magazine,” this truth hit me square in the face. “To me,” Soltesz said, “the most important aspects of painting are to be able to see, remember what you see, and have the skills to reinterpret what you see in unique and beautiful ways.”

I try to do this, but sometimes my efforts are met with frustration and the risk of being misunderstood. Many of my landscapes have an abstract quality that veers from realism. Some traditional artists are taken aback and offended; others see the vision or the feeling I’m trying to convey. In taking risks, we all face the dilemma of exploring new ground on the cutting edge, or of caving in to safety by producing what everyone else is doing.

"Sunset on the Nile" 24 x 30 acrylic on canvas in silver frame

I acknowledge that I sometimes go out on a limb. I try something different and sometimes it works and sometimes it doesn’t. But we have to try! Like many self-taught artists, I fell into a few traps in the beginning.

Soltesz goes on to say “Simplicity is key: It’s the simple color changes and blending of edges that ultimately determine whether the painting works or not. For example, the experienced painter tries to see what he can leave out of a painting to make it successful, while the beginner puts everything in.”

Does this sound familiar? He continues: “Know where you’re going. See the painting already complete on the canvas before you start. Richard Schmid is the master of what I call ‘realism out of abstraction,’ which he describes the way the retina actually sees images, focusing on one area of contrast and making the rest an abstraction.”

"Kelly's Rose" mixed media on wood panel

When I read this article, it was like Thomas was speaking right at me. Another concern I have is that my portfolio is too diverse going from serious portraits to contemporary paintings to illustrations and cartooning. I was so pleased to read his closing comments:

“Always challenge yourself to explore new avenues to avoid falling into a rut.” Amen!

Ace Hardware has a new sales slogan: “Find Your Soul Paint.”  I’m making it my own in reverse: “Paint Your Soul.”