Renoir, O’Keeffe exhibits at the Clark Institute
WILLIAMSTOWN, MASS. . » In our area, the summer is filled with superstars. Be it pop music, classical music, dance or theater, local venues play host to the biggest names in the field.
In the area of visual arts – a superstar is still around. Pierre Auguste Renoir remains at the Clark Art Institute where the dazzling collection of about 70 of his nudes is on display through Sept. 22.
This is an exhibit that should not be missed. It is, of course, a gorgeous show. No matter what you think of Renoir as an artist (and he has his critics) there is no denying his defining sense of color and mastery of form. And, when the form is the female body, you can add sensuality to the list of things to be admired.
Or not. Indeed, though the exhibit is titled, “Renoir: the Body, the Senses,” this show is about as chaste as you can imagine. The beauty of the female body is on display in every artistic form – paintings, sculpture and drawings – yet all are devoid of passion.
Even though with some works the art can seem almost clinical, the work is elevated by the sense of mystery that Renoir brings to each piece. A valid criticism of Renoir’s female portraits is that the models faces are rarely distinctive. Their expressions are so absent of thought or personality, the models seem almost vacuous.
This can be especially obvious when seeing so much of the artist’s work in a specific collection. However, even though so much is similar, there are several unique works that are compellingly enigmatic.
On a personal level, rarely have I experienced an exhibit with so many individual pieces that I couldn’t tear myself away from or kept returning to.
In a mystifying way, many paintings with women in similar poses seemed to have their own stories to tell and the artist seemed reluctant to have the models share all their secrets. This makes almost every painting worthy of contemplation.
The collection is designed not only to honor Renoir’s own talents. It also is meant to show his place in time, his growth as an artist and his place in art history.
Not every painting in the exhibit is by Renoir. Included are works by contemporaries such as Degas, Rubens, Boucher, Cezanne, Matisse and Picasso. It is revealing that included in the show are several of Renoir’s paintings that were owned and treasured by his famous contemporaries.
The exhibit is enthrallingly beautiful and accents Renoir’s ability to work with color in a soft, luminous manner. Combined with his brilliant sense of composition, even an average painting has the elements of a masterpiece.
“Renoir: The Body and the Senses,” is an exhibit that works on many levels. You will better know Renoir the artist and Renoir the man. And too, you will have greater clarity about the 19th century world of art. It continues through Sept. 22, and is worth a journey to Williamstown.
More reason to go to The Clark is a second exhibition, “Ida O’Keeffe: Escaping Georgia’s Shadow.” Between the title and an opening statement that calls Ida “the best artist you never heard of,” tells all you want to know about the artist and the show, which is at the Clark until Oct. 14.
Ida was Georgia O’Keeffe’s sister who was an artist who never became as well-known as her famous sister.
She trained to be a painter but her sex and economic situation prevented her from having a career as an artist.
The exhibit claims that the sisters who were once close became estranged once Ida showed promise of her own success.
The pieces in this small show make Ida’s talent feel almost palpable. Her style of realistic-abstraction was powerful and transformative. It accomplished what great arts should be capable of doing. It took an object and without total deconstruction altered it so that you are seeing the familiar with fresh eyes.
This is clearly illustrated through her “Variations of a Lighthouse.” The series of six paintings show not only O’Keeffe’s ability to redefine an image, but it also shows her growth as an artist. The power of each painting grows with every new attempt.
The symmetry, color and dynamics of each image shows an artist growing confident in her vision and capabilities.
The series was created between 1931-32. Also on display is her 1936 piece, “Creation,” which brings her sense of abstraction and use of color to full maturity. It’s an extraordinary work that illustrates the power of artist in command of her vision.
However, the exhibit seems incomplete. Perhaps because it is too small to judge her body of work. Or, more likely it sadly reflects the stunted career of a woman whose output was constantly put on hold for economic or personal reasons.
But there is a deeper sadness inherent in the exhibit. The idea of luck and the dream of catching the big break is part of the lore of almost all famous, successful artists.
The opposite of the myth of the lucky break is the sad truth that so many talented people just don’t dedicate themselves to do what it takes to be a successful artist in a cruel and overcrowded field.
Leaving the Ida O’Keeffe exhibit, it is impossible to not wonder if the “shadow” Ida failed to escape wasn’t one of her own making.
For information about the Clark Art Institute and their exhibits go to clarkart. edu or call (413) 458-2303