العودة

أندرو وايث (1917-2009)

الفنان بيو الاستفسارحميل PDF
 
<div>Andrew Wyeth’s "Quart and a Half" (1961) belongs to a deeply personal sequence of works inspired by a single day he and his wife, Betsy, spent picking blueberries in a field as a storm gathered. That afternoon became the genesis for one of Wyeth’s most iconic tempera paintings, "Distant Thunder" (1961), which depicts Betsy reclining in the grass with their dog, suffused with a charged stillness before the storm. A preparatory watercolor, "Blueberries, Study for Distant Thunder" (1961, Farnsworth Art Museum), further traces the theme. "Quart and a Half" marks the haunting aftermath, shifting focus from figure to still life: a blueberry carton and tin cup sit abandoned in the grass, their utilitarian presence transformed into emblems of memory and absence. </div><br><br><div> </div><br><br><div>The composition is stripped to essentials—a high horizon line, a darkened field, and the luminous carton and cup catching the eye. The disturbed grass, delicately rendered in intricate strokes, becomes a subtle index of Betsy’s earlier presence, now vanished. That empty imprint became the emotional core of the painting, an emblem of transience. As an early still life, the work reveals Wyeth’s ability to invest the simplest objects with profound emotional resonance, extending the still-life tradition, long associated with mortality and the ephemeral nature of life, into a meditation on the quiet echoes of lived experience. Executed in watercolor, the painting also highlights Wyeth’s balance of spontaneity and restraint, the flickering grasses animated with immediacy yet anchored by a deliberate compositional rigor. </div><br><br><div> </div><br><br><div>"Quart and a Half" also holds distinguished exhibition history. It was featured in the traveling retrospective "Andrew Wyeth: Temperas, Watercolors, Dry Brush, Drawings 1938 into 1966", shown at the Philadelphia Museum of Art, the Baltimore Museum of Art, and the Whitney Museum of American Art (1966–67). Earlier, the work was chosen as the cover image for the catalogue of the 1963 University of Arizona Art Gallery exhibition, underscoring its importance within Wyeth’s oeuvre. Together with "Distant Thunder" and its study, this watercolor transforms a shared picnic into an enduring meditation on memory, impermanence, and the poetry of everyday life. </div> <div>Andrew Wyeth’s "Quart and a Half" (1961) belongs to a deeply personal sequence of works inspired by a single day he and his wife, Betsy, spent picking blueberries in a field as a storm gathered. That afternoon became the genesis for one of Wyeth’s most iconic tempera paintings, "Distant Thunder" (1961), which depicts Betsy reclining in the grass with their dog, suffused with a charged stillness before the storm. A preparatory watercolor, "Blueberries, Study for Distant Thunder" (1961, Farnsworth Art Museum), further traces the theme. "Quart and a Half" marks the haunting aftermath, shifting focus from figure to still life: a blueberry carton and tin cup sit abandoned in the grass, their utilitarian presence transformed into emblems of memory and absence. </div><br><br><div> </div><br><br><div>The composition is stripped to essentials—a high horizon line, a darkened field, and the luminous carton and cup catching the eye. The disturbed grass, delicately rendered in intricate strokes, becomes a subtle index of Betsy’s earlier presence, now vanished. That empty imprint became the emotional core of the painting, an emblem of transience. As an early still life, the work reveals Wyeth’s ability to invest the simplest objects with profound emotional resonance, extending the still-life tradition, long associated with mortality and the ephemeral nature of life, into a meditation on the quiet echoes of lived experience. Executed in watercolor, the painting also highlights Wyeth’s balance of spontaneity and restraint, the flickering grasses animated with immediacy yet anchored by a deliberate compositional rigor. </div><br><br><div> </div><br><br><div>"Quart and a Half" also holds distinguished exhibition history. It was featured in the traveling retrospective "Andrew Wyeth: Temperas, Watercolors, Dry Brush, Drawings 1938 into 1966", shown at the Philadelphia Museum of Art, the Baltimore Museum of Art, and the Whitney Museum of American Art (1966–67). Earlier, the work was chosen as the cover image for the catalogue of the 1963 University of Arizona Art Gallery exhibition, underscoring its importance within Wyeth’s oeuvre. Together with "Distant Thunder" and its study, this watercolor transforms a shared picnic into an enduring meditation on memory, impermanence, and the poetry of everyday life. </div> <div>Andrew Wyeth’s "Quart and a Half" (1961) belongs to a deeply personal sequence of works inspired by a single day he and his wife, Betsy, spent picking blueberries in a field as a storm gathered. That afternoon became the genesis for one of Wyeth’s most iconic tempera paintings, "Distant Thunder" (1961), which depicts Betsy reclining in the grass with their dog, suffused with a charged stillness before the storm. A preparatory watercolor, "Blueberries, Study for Distant Thunder" (1961, Farnsworth Art Museum), further traces the theme. "Quart and a Half" marks the haunting aftermath, shifting focus from figure to still life: a blueberry carton and tin cup sit abandoned in the grass, their utilitarian presence transformed into emblems of memory and absence. </div><br><br><div> </div><br><br><div>The composition is stripped to essentials—a high horizon line, a darkened field, and the luminous carton and cup catching the eye. The disturbed grass, delicately rendered in intricate strokes, becomes a subtle index of Betsy’s earlier presence, now vanished. That empty imprint became the emotional core of the painting, an emblem of transience. As an early still life, the work reveals Wyeth’s ability to invest the simplest objects with profound emotional resonance, extending the still-life tradition, long associated with mortality and the ephemeral nature of life, into a meditation on the quiet echoes of lived experience. Executed in watercolor, the painting also highlights Wyeth’s balance of spontaneity and restraint, the flickering grasses animated with immediacy yet anchored by a deliberate compositional rigor. </div><br><br><div> </div><br><br><div>"Quart and a Half" also holds distinguished exhibition history. It was featured in the traveling retrospective "Andrew Wyeth: Temperas, Watercolors, Dry Brush, Drawings 1938 into 1966", shown at the Philadelphia Museum of Art, the Baltimore Museum of Art, and the Whitney Museum of American Art (1966–67). Earlier, the work was chosen as the cover image for the catalogue of the 1963 University of Arizona Art Gallery exhibition, underscoring its importance within Wyeth’s oeuvre. Together with "Distant Thunder" and its study, this watercolor transforms a shared picnic into an enduring meditation on memory, impermanence, and the poetry of everyday life. </div> <div>Andrew Wyeth’s "Quart and a Half" (1961) belongs to a deeply personal sequence of works inspired by a single day he and his wife, Betsy, spent picking blueberries in a field as a storm gathered. That afternoon became the genesis for one of Wyeth’s most iconic tempera paintings, "Distant Thunder" (1961), which depicts Betsy reclining in the grass with their dog, suffused with a charged stillness before the storm. A preparatory watercolor, "Blueberries, Study for Distant Thunder" (1961, Farnsworth Art Museum), further traces the theme. "Quart and a Half" marks the haunting aftermath, shifting focus from figure to still life: a blueberry carton and tin cup sit abandoned in the grass, their utilitarian presence transformed into emblems of memory and absence. </div><br><br><div> </div><br><br><div>The composition is stripped to essentials—a high horizon line, a darkened field, and the luminous carton and cup catching the eye. The disturbed grass, delicately rendered in intricate strokes, becomes a subtle index of Betsy’s earlier presence, now vanished. That empty imprint became the emotional core of the painting, an emblem of transience. As an early still life, the work reveals Wyeth’s ability to invest the simplest objects with profound emotional resonance, extending the still-life tradition, long associated with mortality and the ephemeral nature of life, into a meditation on the quiet echoes of lived experience. Executed in watercolor, the painting also highlights Wyeth’s balance of spontaneity and restraint, the flickering grasses animated with immediacy yet anchored by a deliberate compositional rigor. </div><br><br><div> </div><br><br><div>"Quart and a Half" also holds distinguished exhibition history. It was featured in the traveling retrospective "Andrew Wyeth: Temperas, Watercolors, Dry Brush, Drawings 1938 into 1966", shown at the Philadelphia Museum of Art, the Baltimore Museum of Art, and the Whitney Museum of American Art (1966–67). Earlier, the work was chosen as the cover image for the catalogue of the 1963 University of Arizona Art Gallery exhibition, underscoring its importance within Wyeth’s oeuvre. Together with "Distant Thunder" and its study, this watercolor transforms a shared picnic into an enduring meditation on memory, impermanence, and the poetry of everyday life. </div> <div>Andrew Wyeth’s "Quart and a Half" (1961) belongs to a deeply personal sequence of works inspired by a single day he and his wife, Betsy, spent picking blueberries in a field as a storm gathered. That afternoon became the genesis for one of Wyeth’s most iconic tempera paintings, "Distant Thunder" (1961), which depicts Betsy reclining in the grass with their dog, suffused with a charged stillness before the storm. A preparatory watercolor, "Blueberries, Study for Distant Thunder" (1961, Farnsworth Art Museum), further traces the theme. "Quart and a Half" marks the haunting aftermath, shifting focus from figure to still life: a blueberry carton and tin cup sit abandoned in the grass, their utilitarian presence transformed into emblems of memory and absence. </div><br><br><div> </div><br><br><div>The composition is stripped to essentials—a high horizon line, a darkened field, and the luminous carton and cup catching the eye. The disturbed grass, delicately rendered in intricate strokes, becomes a subtle index of Betsy’s earlier presence, now vanished. That empty imprint became the emotional core of the painting, an emblem of transience. As an early still life, the work reveals Wyeth’s ability to invest the simplest objects with profound emotional resonance, extending the still-life tradition, long associated with mortality and the ephemeral nature of life, into a meditation on the quiet echoes of lived experience. Executed in watercolor, the painting also highlights Wyeth’s balance of spontaneity and restraint, the flickering grasses animated with immediacy yet anchored by a deliberate compositional rigor. </div><br><br><div> </div><br><br><div>"Quart and a Half" also holds distinguished exhibition history. It was featured in the traveling retrospective "Andrew Wyeth: Temperas, Watercolors, Dry Brush, Drawings 1938 into 1966", shown at the Philadelphia Museum of Art, the Baltimore Museum of Art, and the Whitney Museum of American Art (1966–67). Earlier, the work was chosen as the cover image for the catalogue of the 1963 University of Arizona Art Gallery exhibition, underscoring its importance within Wyeth’s oeuvre. Together with "Distant Thunder" and its study, this watercolor transforms a shared picnic into an enduring meditation on memory, impermanence, and the poetry of everyday life. </div> <div>Andrew Wyeth’s "Quart and a Half" (1961) belongs to a deeply personal sequence of works inspired by a single day he and his wife, Betsy, spent picking blueberries in a field as a storm gathered. That afternoon became the genesis for one of Wyeth’s most iconic tempera paintings, "Distant Thunder" (1961), which depicts Betsy reclining in the grass with their dog, suffused with a charged stillness before the storm. A preparatory watercolor, "Blueberries, Study for Distant Thunder" (1961, Farnsworth Art Museum), further traces the theme. "Quart and a Half" marks the haunting aftermath, shifting focus from figure to still life: a blueberry carton and tin cup sit abandoned in the grass, their utilitarian presence transformed into emblems of memory and absence. </div><br><br><div> </div><br><br><div>The composition is stripped to essentials—a high horizon line, a darkened field, and the luminous carton and cup catching the eye. The disturbed grass, delicately rendered in intricate strokes, becomes a subtle index of Betsy’s earlier presence, now vanished. That empty imprint became the emotional core of the painting, an emblem of transience. As an early still life, the work reveals Wyeth’s ability to invest the simplest objects with profound emotional resonance, extending the still-life tradition, long associated with mortality and the ephemeral nature of life, into a meditation on the quiet echoes of lived experience. Executed in watercolor, the painting also highlights Wyeth’s balance of spontaneity and restraint, the flickering grasses animated with immediacy yet anchored by a deliberate compositional rigor. </div><br><br><div> </div><br><br><div>"Quart and a Half" also holds distinguished exhibition history. It was featured in the traveling retrospective "Andrew Wyeth: Temperas, Watercolors, Dry Brush, Drawings 1938 into 1966", shown at the Philadelphia Museum of Art, the Baltimore Museum of Art, and the Whitney Museum of American Art (1966–67). Earlier, the work was chosen as the cover image for the catalogue of the 1963 University of Arizona Art Gallery exhibition, underscoring its importance within Wyeth’s oeuvre. Together with "Distant Thunder" and its study, this watercolor transforms a shared picnic into an enduring meditation on memory, impermanence, and the poetry of everyday life. </div> <div>Andrew Wyeth’s "Quart and a Half" (1961) belongs to a deeply personal sequence of works inspired by a single day he and his wife, Betsy, spent picking blueberries in a field as a storm gathered. That afternoon became the genesis for one of Wyeth’s most iconic tempera paintings, "Distant Thunder" (1961), which depicts Betsy reclining in the grass with their dog, suffused with a charged stillness before the storm. A preparatory watercolor, "Blueberries, Study for Distant Thunder" (1961, Farnsworth Art Museum), further traces the theme. "Quart and a Half" marks the haunting aftermath, shifting focus from figure to still life: a blueberry carton and tin cup sit abandoned in the grass, their utilitarian presence transformed into emblems of memory and absence. </div><br><br><div> </div><br><br><div>The composition is stripped to essentials—a high horizon line, a darkened field, and the luminous carton and cup catching the eye. The disturbed grass, delicately rendered in intricate strokes, becomes a subtle index of Betsy’s earlier presence, now vanished. That empty imprint became the emotional core of the painting, an emblem of transience. As an early still life, the work reveals Wyeth’s ability to invest the simplest objects with profound emotional resonance, extending the still-life tradition, long associated with mortality and the ephemeral nature of life, into a meditation on the quiet echoes of lived experience. Executed in watercolor, the painting also highlights Wyeth’s balance of spontaneity and restraint, the flickering grasses animated with immediacy yet anchored by a deliberate compositional rigor. </div><br><br><div> </div><br><br><div>"Quart and a Half" also holds distinguished exhibition history. It was featured in the traveling retrospective "Andrew Wyeth: Temperas, Watercolors, Dry Brush, Drawings 1938 into 1966", shown at the Philadelphia Museum of Art, the Baltimore Museum of Art, and the Whitney Museum of American Art (1966–67). Earlier, the work was chosen as the cover image for the catalogue of the 1963 University of Arizona Art Gallery exhibition, underscoring its importance within Wyeth’s oeuvre. Together with "Distant Thunder" and its study, this watercolor transforms a shared picnic into an enduring meditation on memory, impermanence, and the poetry of everyday life. </div> <div>Andrew Wyeth’s "Quart and a Half" (1961) belongs to a deeply personal sequence of works inspired by a single day he and his wife, Betsy, spent picking blueberries in a field as a storm gathered. That afternoon became the genesis for one of Wyeth’s most iconic tempera paintings, "Distant Thunder" (1961), which depicts Betsy reclining in the grass with their dog, suffused with a charged stillness before the storm. A preparatory watercolor, "Blueberries, Study for Distant Thunder" (1961, Farnsworth Art Museum), further traces the theme. "Quart and a Half" marks the haunting aftermath, shifting focus from figure to still life: a blueberry carton and tin cup sit abandoned in the grass, their utilitarian presence transformed into emblems of memory and absence. </div><br><br><div> </div><br><br><div>The composition is stripped to essentials—a high horizon line, a darkened field, and the luminous carton and cup catching the eye. The disturbed grass, delicately rendered in intricate strokes, becomes a subtle index of Betsy’s earlier presence, now vanished. That empty imprint became the emotional core of the painting, an emblem of transience. As an early still life, the work reveals Wyeth’s ability to invest the simplest objects with profound emotional resonance, extending the still-life tradition, long associated with mortality and the ephemeral nature of life, into a meditation on the quiet echoes of lived experience. Executed in watercolor, the painting also highlights Wyeth’s balance of spontaneity and restraint, the flickering grasses animated with immediacy yet anchored by a deliberate compositional rigor. </div><br><br><div> </div><br><br><div>"Quart and a Half" also holds distinguished exhibition history. It was featured in the traveling retrospective "Andrew Wyeth: Temperas, Watercolors, Dry Brush, Drawings 1938 into 1966", shown at the Philadelphia Museum of Art, the Baltimore Museum of Art, and the Whitney Museum of American Art (1966–67). Earlier, the work was chosen as the cover image for the catalogue of the 1963 University of Arizona Art Gallery exhibition, underscoring its importance within Wyeth’s oeuvre. Together with "Distant Thunder" and its study, this watercolor transforms a shared picnic into an enduring meditation on memory, impermanence, and the poetry of everyday life. </div> <div>Andrew Wyeth’s "Quart and a Half" (1961) belongs to a deeply personal sequence of works inspired by a single day he and his wife, Betsy, spent picking blueberries in a field as a storm gathered. That afternoon became the genesis for one of Wyeth’s most iconic tempera paintings, "Distant Thunder" (1961), which depicts Betsy reclining in the grass with their dog, suffused with a charged stillness before the storm. A preparatory watercolor, "Blueberries, Study for Distant Thunder" (1961, Farnsworth Art Museum), further traces the theme. "Quart and a Half" marks the haunting aftermath, shifting focus from figure to still life: a blueberry carton and tin cup sit abandoned in the grass, their utilitarian presence transformed into emblems of memory and absence. </div><br><br><div> </div><br><br><div>The composition is stripped to essentials—a high horizon line, a darkened field, and the luminous carton and cup catching the eye. The disturbed grass, delicately rendered in intricate strokes, becomes a subtle index of Betsy’s earlier presence, now vanished. That empty imprint became the emotional core of the painting, an emblem of transience. As an early still life, the work reveals Wyeth’s ability to invest the simplest objects with profound emotional resonance, extending the still-life tradition, long associated with mortality and the ephemeral nature of life, into a meditation on the quiet echoes of lived experience. Executed in watercolor, the painting also highlights Wyeth’s balance of spontaneity and restraint, the flickering grasses animated with immediacy yet anchored by a deliberate compositional rigor. </div><br><br><div> </div><br><br><div>"Quart and a Half" also holds distinguished exhibition history. It was featured in the traveling retrospective "Andrew Wyeth: Temperas, Watercolors, Dry Brush, Drawings 1938 into 1966", shown at the Philadelphia Museum of Art, the Baltimore Museum of Art, and the Whitney Museum of American Art (1966–67). Earlier, the work was chosen as the cover image for the catalogue of the 1963 University of Arizona Art Gallery exhibition, underscoring its importance within Wyeth’s oeuvre. Together with "Distant Thunder" and its study, this watercolor transforms a shared picnic into an enduring meditation on memory, impermanence, and the poetry of everyday life. </div> <div>Andrew Wyeth’s "Quart and a Half" (1961) belongs to a deeply personal sequence of works inspired by a single day he and his wife, Betsy, spent picking blueberries in a field as a storm gathered. That afternoon became the genesis for one of Wyeth’s most iconic tempera paintings, "Distant Thunder" (1961), which depicts Betsy reclining in the grass with their dog, suffused with a charged stillness before the storm. A preparatory watercolor, "Blueberries, Study for Distant Thunder" (1961, Farnsworth Art Museum), further traces the theme. "Quart and a Half" marks the haunting aftermath, shifting focus from figure to still life: a blueberry carton and tin cup sit abandoned in the grass, their utilitarian presence transformed into emblems of memory and absence. </div><br><br><div> </div><br><br><div>The composition is stripped to essentials—a high horizon line, a darkened field, and the luminous carton and cup catching the eye. The disturbed grass, delicately rendered in intricate strokes, becomes a subtle index of Betsy’s earlier presence, now vanished. That empty imprint became the emotional core of the painting, an emblem of transience. As an early still life, the work reveals Wyeth’s ability to invest the simplest objects with profound emotional resonance, extending the still-life tradition, long associated with mortality and the ephemeral nature of life, into a meditation on the quiet echoes of lived experience. Executed in watercolor, the painting also highlights Wyeth’s balance of spontaneity and restraint, the flickering grasses animated with immediacy yet anchored by a deliberate compositional rigor. </div><br><br><div> </div><br><br><div>"Quart and a Half" also holds distinguished exhibition history. It was featured in the traveling retrospective "Andrew Wyeth: Temperas, Watercolors, Dry Brush, Drawings 1938 into 1966", shown at the Philadelphia Museum of Art, the Baltimore Museum of Art, and the Whitney Museum of American Art (1966–67). Earlier, the work was chosen as the cover image for the catalogue of the 1963 University of Arizona Art Gallery exhibition, underscoring its importance within Wyeth’s oeuvre. Together with "Distant Thunder" and its study, this watercolor transforms a shared picnic into an enduring meditation on memory, impermanence, and the poetry of everyday life. </div>
كوارت ونصف196121 × 29 1/4 بوصة.(53.34 × 74.3 سم) لوحة مائية على ورق
الاصل
M. Knoedler & Co., Inc.، مدينة نيويورك
مجموعة خاصة، كارولينا الشمالية
مجموعة خاصة
مجموعة خاصة، مُهداة من الأعلى
مجموعة خاصة
معرض
توسون، أريزونا، معرض الفن الجامعي في جامعة أريزونا، أندرو ويث، 16 مارس - 14 أبريل 1963
فيلادلفيا، بنسلفانيا، أكاديمية بنسلفانيا للفنون الجميلة، أندرو ويث: تمبراس وألوان مائية وفرشاة جافة ورسومات 1938 إلى 1966، 8 أكتوبر - 27 نوفمبر 1966
بالتيمور، ماريلاند، متحف بالتيمور للفنون، أندرو ويث: تمبرا، ألوان مائية، د... اكثر...ry Brush، رسومات من 1938 إلى 1966، 13 ديسمبر 1966 - 22 يناير 1967
نيويورك، متحف ويتني للفنون، أندرو ويث: تمبراس وألوان مائية وفرشاة جافة ورسومات من 1938 إلى 1966، 14 فبراير - 2 أبريل 1967
شيكاغو، إلينوي، معهد شيكاغو للفنون، أندرو ويث: تيمبراس وألوان مائية وفرشاة جافة ورسومات من 1938 إلى 1966، 21 أبريل - 4 يونيو 1967
رالي، كارولينا الشمالية، متحف كارولينا الشمالية للفنون، مقتنيات كارولينا الشمالية، 10 - 29 أكتوبر 1967
غرينفيل، ساوث كارولينا الجنوبية، متحف مقاطعة غرينفيل للفنون، أندرو ويث في المجموعات الجنوبية، 1 فبراير - 31 مارس 1979
سالم، فيرجينيا، كلية رونوك، من مجموعة: أعمال وإعارة من أمناء وأصدقاء كلية رونوك، 24 أكتوبر - 21 نوفمبر 1997
الادب
بول هورغان، أندرو ويث؛ معرض للألوان المائية والتمبرا والرسومات، من 16 مارس حتى 14 أبريل، توسون، أريزونا، 1963 (موضح على الغلاف)
E. P. Richardson, "Andrew Wyeth," The Atlantic, June 1964, p. 67
إدغار بريستون ريتشاردسون وأكاديمية بنسلفانيا للفنون الجميلة، أندرو ويث: تيمبراس وألوان مائية وفرشاة جافة ورسومات 1938 إلى 1966، نيويورك، نيويورك 1966، ص 82
... اقل... السعر295,000
تنتمي لوحة "كوارت ونصف" (1961) لأندرو ويث إلى سلسلة أعمال شخصية للغاية مستوحاة من يوم واحد أمضاه هو وزوجته بيتسي في قطف التوت الأزرق في أحد الحقول بينما كانت العاصفة تتجمع. أصبحت فترة ما بعد الظهيرة تلك هي الأصل لواحدة من أكثر لوحات وايث شهرةً في مجال التمبرا، وهي لوحة "الرعد البعيد" (1961)، التي تصور بيتسي مستلقية على العشب مع كلبهما في سكون مشحون قبل العاصفة. وتتتبع لوحة مائية تحضيرية بعنوان "التوت الأزرق، دراسة للرعد البعيد" (1961، متحف فارنسورث للفنون)، الموضوع. تشير لوحة "كوارت ونصف" إلى ما بعد العاصفة المؤلمة، حيث يتحول التركيز من الشكل إلى الحياة الساكنة: علبة توت وكوب من الصفيح متروكان على العشب، ويتحول وجودهما النفعي إلى رموز للذاكرة والغياب.





يتم تجريد التكوين إلى الأساسيات - خط أفق مرتفع، وحقل مظلم، وكرتون وكوب مضيء يلفت الأنظار. ويصبح العشب المضطرب، الذي تم رسمه بدقة متناهية بضربات معقدة، مؤشراً خفياً لحضور بيتسي السابق، الذي اختفى الآن. أصبحت تلك البصمة الفارغة هي الجوهر العاطفي للوحة، رمزاً للزوال. وباعتبارها لوحة حياة صامتة مبكرة، يكشف العمل عن قدرة ويث على استثمار أبسط الأشياء برنين عاطفي عميق، موسعاً بذلك تقليد الحياة الصامتة الذي طالما ارتبط بالفناء وطبيعة الحياة سريعة الزوال، إلى تأمل في الأصداء الهادئة للتجربة الحية. تبرز اللوحة المنفذة بالألوان المائية توازن وايث بين العفوية وضبط النفس، حيث تتحرك الأعشاب المتلألئة بشكل فوري لكنها ترتكز على صرامة تركيبية مدروسة.





تحمل لوحة "ربع ونصف" أيضاً تاريخاً متميزاً في المعارض. فقد عُرضت في المعرض الاستعادي المتنقل "أندرو ويث: تمبرا، وألوان مائية، وفرشاة جافة، ورسومات 1938 إلى 1966"، الذي عُرض في متحف فيلادلفيا للفنون، ومتحف بالتيمور للفنون، ومتحف ويتني للفن الأمريكي (1966-1967). وفي وقت سابق، اختير هذا العمل كصورة غلاف لكتالوج معرض معرض معرض جامعة أريزونا للفنون عام 1963، مما يؤكد أهميته في أعمال ويث. إلى جانب لوحة "الرعد البعيد" ودراستها، تحوّل هذه اللوحة المائية نزهة مشتركة إلى تأمل دائم في الذاكرة وعدم الثبات وشعر الحياة اليومية.
العودة
الاستفسار