Paintings by Jan Lombardi
David Alfaro Siqueiros
Volcan Fosforescente /
from the Mountain Suite series
Lithograph on paper
Gift of the Mongan Family
Girl With the Violin (1890). Edmund Charles Tarbell (American, Impressionist, 1862–1938). Oil on canvas.
Tarbell was renowned for his elegant interiors and vivacious outdoor paintings of his family. He experimented with a range of forms through en plein air painting. He specialized in delicately finished, pearly interiors, and devoted a significant part of his career to capturing images of young women pursuing domestic activities, such as sewing or reading, in elegantly decorated rooms filled with antiquarian or oriental objects.
George Luks, The Wrestlers, 1905
From the Museum of Fine Arts, Boston:
Criticized for his poor handling of the human anatomy, Luks answered his detractors by rendering this complex scene of two nude wrestlers. The artist’s perspective was radical for the time. Luks’s composition effectively presses the viewer to the edge of the wrestling pit, thereby emphasizing the down-at-heels setting. The jarring vantage point also evokes the sweaty underbelly of modern urban life, a theme for which he and fellow members of the Ashcan School would become known.
Luks’s scene of entangled human flesh under duress is reminiscent of the sporting scenes that fellow Philadelphian Thomas Eakins painted, in particular Eakins’s 1899 Wrestlers. Whereas Eakins depicted a wrestling hold with the impassive eye of a painter rendering a studio model, Luks conveys the passion exuded by the heaving torsos. Eakins applied carefully blended strokes of pigment, building up solidly modeled forms after the manner of his studio training with the French academic painter Jean-Léon Gérôme. Luks, in contrast, enlivens his figures with energetic brushwork and thick impasto. Luks’s familiarity with the popular press, gained from his work for illustrated periodicals, may have inspired the sense of immediacy he suggested—brilliantly illuminated flesh is thrown into relief against the dark background as though caught in a reporter’s flashbulb.
The opponent at the left also recalls the terrifying visages of the early-nineteenth-century Spanish painter Francisco Goya’s so-called Black Paintings, in which humans are transformed into ghouls. Luks portrays a distinctive type among the multitudes in New York City, in this case an aggressive athlete. Once again, his training as a newspaper illustrator likely honed his astute sensitivity to physiognomy, and here the thickly furrowed brow, devilish eyes, and flushed complexion suggest the bellicose personality befitting a pugnacious wrestler.
New Orleans Cemetery, Sphinx, 2009 by sibylline photography
Edvard Munch, Evening on Karl Johan, 1892
Art historians believe that Munch included himself in this painting as the lone figure retreating into the distance.