Tuesdays at 11:30 am • Katherine L. White Hall
Against The Grain
This season's talks explore artists who forged their own paths against the prevailing currents in the art world of their day, creating remarkable bodies of work while following their unique artistic vision.
VCA Member/Student $60, Senior $70, General $80
VCA Member $14, Senior $16, General $18
On Sale starting Monday, September 18 at 10 am
Wyeth’s paintings not only reject Abstract Expressionism; they seem to reject the 20th century entirely. Gravitating between Maine and the Brandywine Valley, Wyeth – the subject of a major retrospective at Seattle Art Museum this fall – chose timeless rural subject matter and depicted it in meticulously rendered watercolors and temperas that seem both timeless and deeply personal.
Schiaparelli did not move up from within the ranks of the Parisian fashion world. Instead, she stormed its barriers. As a woman, an Italian immigrant, and someone who did not even sew, she relied on brilliant innovation and a flamboyant personality to keep her designs in the public eye. Her friendship with the Surrealists enabled her to inject high art into haute couture.
The Ashcan School
At the turn of the 20th century, a group of newspaper illustrators turned fine artists, under the mentorship of the unconventional Robert Henri, rejected American Impressionism as, in Henri’s words, “a new academicism.” John Sloan, George Luks and their fellows sought out gritty, urban subjects – tenements, immigrant life, alcoholism – in the creation of a powerful modern American art.
Henry Ossawa Tanner
The first African-American student at the Pennsylvania Academy of the Fine Arts didn’t plan to become a rebel but had just enough African ancestry to provoke the racism of his fellow students. Frustrated in his career, at age 32 Tanner traveled to Paris to study, and there he found success, crafting a unique style that combined Impressionist touch and academic subject matter.
Sculpture has traditionally been associated with permanence: ancient marbles, bronze monuments, steel girders. Goldsworthy has chosen to make sculpture from the most ephemeral materials – autumn leaves, stones, twigs and snow. Many of his works exist only in the stunning photographs he makes before nature consumes them.