“The Rainbow at the Edge of the Shadow of the Egg”
نویسنده
چکیده
“R is terrifi c. It’s become too tedious to pretend he isn’t,” said art critic Peter Schjeldahl in 1999, summing up recent opinion about this well-loved American artist, whose work was dismissed by the art establishment during his lifetime (1). “Without thinking too much about it in specifi c terms,” Rockwell said of himself, “I was showing the America I knew and observed to others who might not have noticed.... I guess I am a story teller” (2). While hard at work as illustrator for The Saturday Evening Post, Encyclopaedia Britannica, Maxwell House Coffee, Parker Pens, Coca-Cola, Heritage Press, motion picture companies, and the U.S. government, Rockwell was keenly aware of the revolution brewing in the art scene of his day. He thought Picasso was “the greatest,” and in The Connoisseur, painted when he was 68 years old, he showed a middle-aged man clad in a gray suit, fedora and umbrella in hand, pondering a credible representation of a Jackson Pollock canvas. “I was born on February 3, 1894, in the back bedroom of a shabby brownstone front on 103rd Street and Amsterdam Avenue in New York City,” wrote Rockwell in his autobiography. “I think I’ve always wanted to be an artist.... I drew, then I found I liked to draw, and fi nally, after I had got to know something about myself and the people and things around me, I found that I didn’t want to do anything else but draw” (3). He studied at the Chase Art School and then went on to the National Academy of Design and the Art Students League, where he worked under Thomas Fogarty, George Bridgman, and Frank Vincent Dumond. “In those days there wasn’t the cleavage between fi ne arts and illustration that there is today,” Rockwell wrote. “It was the end of what you might call the golden age of illustration.” Frederick Remington had just died, and photographs were crowding the magazine and book publishing scene. Perhaps people had stopped demanding fi ne illustration, he thought; “You can’t conduct a golden age with a heart of copper” (3). Rockwell was scorned for becoming an illustrator, even by his fellow students. “You know, if I worked as hard as you do, I could be as good as Velásquez,” one of them would joke. “Why don’t you?” Rockwell would respond and return to some vexing problem at hand, how to draw an eye for instance so it did not look “like a fried egg.” “I can’t say who has infl uenced me really. Or at least I can’t say how the artists I have admired have infl uenced me.... Ever since I can remember, Rembrandt has been my
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ورودعنوان ژورنال:
- Emerging Infectious Diseases
دوره 14 شماره
صفحات -
تاریخ انتشار 2008