Sunday, September 07, 2014

Egon Weiner

 
 
 
 
 


Here's "Brotherhood",  the first Egon Weiner statue I ever saw in Chicago

It was encouraging to find positive, figurative public sculpture in the "Where's mine?" city.


But it's not really great - and that's a problem with sculpture dedicated to an important theme.

Weakness is less annoying when the subject is merely personal.  By the way - the sculpture in the rotunda of the nearby Elks Memorial is also dedicated to similar lofty ideals - and it's even more disappointing.


 
 
 
I'm sure I've seen this Weiner portrait of Frank Lloyd Wright
many times in Austin Gardens in Oak Park.
 
But it's so unappealing,
I've tried not to notice it. 
 
Perhaps the artist was too intimidated by his subject.
 
 
 
 
 
 
But that doesn't mean that I dislike everything Weiner has  done.
 
Above is my favorite piece from the retrospective
currently on view at the Koehnline Museum.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
He must have done a lot of life drawing,
since he taught that subject at the School of the Art Institute.
 
But if the above is the best example that could be found,
 he was man of modest talents.
(a challenging situation with which I identify)
 
From all reports,
he was dedicated, enthusiastic, and well taught.
 
He studied in Vienna with Anton Hanak,
one of my favorite 20th Century sculptors.
 
 
 
 
 


This "Sower" belongs in Dr.  Grohmann's Working Man's Museum in Milwaukee.


It's the same theme done decades earlier by his boss, Albin Polasek, head of the sculpture department at the School of the Art Institute.   But reflecting a less inhibited cultural era, Polasek's sower has his pants off.






















 
Presumably, this is the consequence of all that sowing.












 



Here's another piece that I liked. He was reportedly a very spiritual man. His father was Jewish, his mother was Roman Catholic, and he chose to be Lutheran.













I also like this bust of Nietzche



 




But as you can see from this, and the other photos I took at the exhibition, the show was poorly lit.











Here's another bust that I really liked.
It depicts St. Paul.





I'm less enthusiastic about this bust of Martin Luther King























 








 
This one never should have been cast,
though it may serve as  Weiner's application
to the "Monster Roster" school of Chicago figuration.








 
 
In the 1950's, he switched to non-figurative sculpture.
 
This is a model for a monument at the  Chicago Fire  Academy.
 
It was  his most famous commission - but it's also a bit puzzling.
 
This heroic depiction of flame seems more appropriate
for a Zoroastrian Fire Temple - where fire is worshipped rather than fought.
 










Here's another depiction of fire -- this time it's the Burning Bush of Moses.


His flame-like abstract sculpture seems to have had a strong effect on his two most successful students at the Art Institute, Richard Hunt and Joseph Burlini, both of whom appear in a video that honors their teacher.

I doubt that kind of student-teacher relationship is often found in the theory-based MFA programs of today..









Weiner was trained and certified as a wood carver in Vienna --
 but I don't think it was a good medium for him.




 







The exhibit included the above photo of his relief sculpture for a synagogue.

It's better lit than anything else in the gallery - but it's rather stiff, dull, and awkward compared to the liturgical reliefs of his Chicago contemporary, Milton Horn.





























***********


It's hard to be too  critical of any American sculptor whose career straddled the great Post-war divide  that replaced figurative idealism with abstract expression.

Weiner's abstract idealism seems like a good adjustment - even if the only non-figurative sculpture that has ever entertained me are ceramic bowls, pots, and cups. (with the lone exception of Hans Arp)

What I really like are the things he did for Lutheran churches - comparable to this prolific Lutheran sculptor who was more naturalistic and did not have that inner glow that Weiner took from  Medieval Christian sculpture.



Sunday, August 31, 2014

Chinese Painting AIC September 2014

 Chen Daofu, (1483-1544), Flowering Lotus, 1543



It looks like lotus will be the theme of  the September installation in the alcove of Chinese painting - but so far only two pieces have been installed.  The museum showed another painting by this artist last winter.








My friend, John Putnam, has own lotus pond that recently came under attack by a local raccoon.

But these lotus are better protected -and I could look at them all day









It's a subject matter  that seems to offer the opportunity to express hilarity.




































 





Li Huasheng (b. 1944), "Ten Thousand Acres of Lotus", 1991


This contemporary piece also feels hilarious - as hilarious as a small child's birthday party.

An artist of the Peoples Republic,  Li seems to looking at contemporary ABX artists like Cy Twombly as much as he's followed traditional Chinese brush painting.













Li Huasheng, 2001 (not on view)



In the 1990's, he stopped painting recognizable imagery, and began compulsively putting marks on the paper.

Hopefully, he'll eventually find this kind of work as tedious as I do, and will return to a more lyrical practice.

 
**************


.Returning two weeks later, I discovered that only one additional painting had been added - while half the cases are still filled with the botanicals that were put on exhibit last Spring.







Qing Dynasty, Bamboo and Rocks



This piece was impossible to photograph - and it's not yet listed in the online catalog. (1988.173)










Sunday, August 17, 2014

Reginald Mars at the Oak Park Public Library







 In 1963, the Village of Oak Park commissioned Reginald Mars (1901 - 1973) to depict 10 seasonal recreational activities to adorn a newly built fieldhouse.  They went into storage twenty years later, and now have been cleaned and put on temporary display in the library.

This scene,  appearing in the Chicago Tribune last week,  caught my attention.   First, because it  reminded me that if you want to see lots of attractive, half-dressed young women, just go to a public swimming pool in the morning when they bring their young children to play.

Second, because it was obviously done by a talented, experienced illustrator who could draw figures and design with them too.










Unfortunately, these surfaces got pretty dirty in their public location, and the cleaning left them feeling as thin and faded as a fresco from the 14th Century.

But the drawing and basic design has survived -- to effectively depict happy, prosperous, suburban American life in the early 1960's  (back when I might have been a kid in the pool)

Though you might notice one thing that's missing: ethnic diversity -- which would have been a sensitive issue back in the 50's- especially regarding public swimming pools. (in Cincinnati, where I grew up, they were segregated )







 Here's my favorite -- I think the artist may have spent some time in the Buckingham Japanese print gallery at the Art Institute.











Hokusai













































 As often happens with the work of professional illustrators, these pieces look better in reproduction than they do in the original.






 Another nice composition.











 I'm sure that every village has a storeroom containing dark,old, forgotten paintings.

Some art lover must have stumbled upon  these and correctly guessed how good they once looked.

















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