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ANDREW WYETH (1917-2009)

KÜNSTLER BIO ANFORDERNPDF HERUNTERLADEN
 
<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>
Anderthalb Quart196121 x 29 1/4 Zoll.(53,34 x 74,3 cm) Aquarell auf Papier
Provenienz
M. Knoedler & Co, Inc, New York City
Privatsammlung, North Carolina
Privatsammlung
Privatsammlung, von oben geschenkt
Private Sammlung
Ausstellung
Tucson, Arizona, Universitätskunstgalerie der Universität von Arizona, Andrew Wyeth, 16. März - 14. April 1963
Philadelphia, Pennsylvania Academy of the Fine Arts, Pennsylvania Academy of the Fine Arts, Andrew Wyeth: Tempera, Aquarelle, Trockenpinsel, Zeichnungen 1938 bis 1966, 8. Oktober - 27. November 1966
Baltimore, Maryland, Baltimore Museum of Art, Andrew Wyeth: Temperas, Aquarelle, D...Mehr.....ry Brush, Zeichnungen 1938 bis 1966, 13. Dezember 1966 - 22. Januar 1967
New York, Whitney Museum of Art, Andrew Wyeth: Tempera, Aquarelle, Trockenpinsel, Zeichnungen 1938 bis 1966, 14. Februar - 2. April 1967
Chicago, Illinois, The Art Institute of Chicago, Andrew Wyeth: Tempera, Aquarelle, Trockenpinsel, Zeichnungen 1938 bis 1966, 21. April - 4. Juni 1967
Raleigh, North Carolina, North Carolina Museum of Art, North Carolina Collects, 10. bis 29. Oktober 1967
Greenville, South Carolina, Greenville County Museum of Art, Andrew Wyeth in Southern Collections, 1. Februar - 31. März 1979
Salem, Virginia, Roanoke College, Aus der Sammlung von: Werke und Leihgaben von Kuratoren und Freunden des Roanoke College, 24. Oktober - 21. November 1997
Literaturhinweise
Paul Horgan, Andrew Wyeth; eine Ausstellung von Aquarellen, Temperafarben und Zeichnungen, 16. März bis 14. April, Tucson, Arizona, 1963 (Abbildung auf dem Umschlag)
E. P. Richardson, "Andrew Wyeth", The Atlantic, Juni 1964, S. 67
Edgar Preston Richardson und die Pennsylvania Academy of the Fine Arts, Andrew Wyeth: Tempera, Aquarelle, Trockenpinsel, Zeichnungen 1938 bis 1966, New York, NY 1966, S. 82
...WENIGER..... Preis295,000
Andrew Wyeths "Quart and a Half" (1961) gehört zu einer Reihe sehr persönlicher Werke, die von einem einzigen Tag inspiriert wurden, an dem er und seine Frau Betsy Blaubeeren auf einem Feld pflückten, während ein Sturm aufzog. An diesem Nachmittag entstand eines von Wyeths ikonischsten Temperagemälden, "Distant Thunder" (1961), das Betsy mit ihrem Hund im Gras liegend zeigt, erfüllt von einer geladenen Stille vor dem Sturm. Ein vorbereitendes Aquarell, "Blueberries, Study for Distant Thunder" (1961, Farnsworth Art Museum), zeichnet das Thema weiter nach. "Quart and a Half" markiert die eindringlichen Nachwirkungen und verlagert den Fokus von der Figur auf ein Stillleben: Ein Blaubeerkarton und ein Zinnbecher liegen verlassen im Gras, und ihre utilitaristische Präsenz verwandelt sich in Embleme der Erinnerung und der Abwesenheit.





Die Komposition ist auf das Wesentliche reduziert - eine hohe Horizontlinie, ein abgedunkeltes Feld und der leuchtende Karton und die Tasse, die den Blick auf sich ziehen. Das gestörte Gras, das mit feinen Strichen dargestellt ist, wird zu einem subtilen Hinweis auf Betsys frühere Anwesenheit, die nun verschwunden ist. Dieser leere Abdruck wurde zum emotionalen Kern des Gemäldes, zum Sinnbild der Vergänglichkeit. Als frühes Stillleben offenbart das Werk Wyeths Fähigkeit, den einfachsten Gegenständen eine tiefe emotionale Resonanz zu verleihen und die Tradition des Stilllebens, die lange Zeit mit der Sterblichkeit und der Vergänglichkeit des Lebens assoziiert wurde, zu einer Meditation über die leisen Echos gelebter Erfahrung zu erweitern. Das mit Aquarellfarben ausgeführte Gemälde unterstreicht auch Wyeths Gleichgewicht zwischen Spontaneität und Zurückhaltung, wobei die flimmernden Gräser mit Unmittelbarkeit belebt und dennoch durch eine bewusste kompositorische Strenge verankert sind.





"Quart and a Half" hat auch eine bedeutende Ausstellungsgeschichte. Es wurde in der Wanderretrospektive "Andrew Wyeth: Temperas, Watercolors, Dry Brush, Drawings 1938 to 1966", die im Philadelphia Museum of Art, im Baltimore Museum of Art und im Whitney Museum of American Art (1966-67) gezeigt wurde. Zuvor war das Werk als Titelbild für den Katalog der Ausstellung der University of Arizona Art Gallery von 1963 ausgewählt worden, was seine Bedeutung innerhalb von Wyeths Oeuvre unterstreicht. Zusammen mit "Distant Thunder" und seiner Studie verwandelt dieses Aquarell ein gemeinsames Picknick in eine dauerhafte Meditation über Erinnerung, Vergänglichkeit und die Poesie des Alltags.
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