Customer Reviews

Art of Andrew Wyeth

5 star:		(4)
4 star:		(1)
3 star:		(1)
2 star:		(0)
1 star:		(0)

 

 

This collection of essays, edited by Wanda Corn, covers a lot of territory. It includes background material, including a lengthy section on his painstaking technique, and an interview. That's not why I came. I first saw his Helga pictures, none of which are presented here., but they were enough to get me hooked.

The selection of works appeals to both the enthusiast and the novice. For the latter, there's the sentimental "Faraway" (p.82), baffling "Chambered Nautilus" (p.87), and familiar "Christina's World" (p.39). Those are enough to entice a reader into spending time on pieces no less beautiful(p.37), even if the beauty is less apparent to the first, and maybe second and third examination.

Having seen the work, I have to ask how it was made. That's at least as remarkable, since Wyeth tended towards demanding media. A lot of his work is watercolor, one of the less forgiving media. Then, within watercolor, a lot of his work is done with dry brush techniquue, which is even more unforgiving. It is, however, the technique that Beatrice Potter used in her photo-realistic scientific studies and children's books. The most impressive, however, is the body of work done in egg tempera. I've never worked in that medium, and probably never will. It demands even more of the artist, since the paint is essentially made in the moment that it's used, and makes every flaw irreparable. In compensation, though, it offers good permanence, more chance for overpainting, and the highest potential for precision. I can barely imagine the technical skill and singled-minded devotion that Wyeth applied to some of these pieces.

I promised something for the serious student, though, and samples pervade this book. I got the most out of seeing his sketches next to the finished pieces. Others, though, might prefer the photos of scenes he had painted, or the biographical notes, or the scholarship of the writers. The profuse examples of Wyeth's work, however, mean that it can't become dry. I recommend this to anyone who like's Andrew Wyeth's work, or could learn to - and that's just about everyone.


//wiredweird

This collection of essays, edited by Wanda Corn, covers a lot of territory. It includes background material, a lengthy section on his painstaking technique, and an interview. That's not why I came. I first saw his Helga pictures, none of which are presented here, but they were enough to get me hooked.

The selection of works appeals to both the enthusiast and the novice. For the latter, there's the sentimental "Faraway" (p.82), baffling "Chambered Nautilus" (p.87), and familiar "Christina's World" (p.39). Those are enough to entice a reader into spending time on pieces no less beautiful(p.37), even if the beauty is less apparent to the first, and maybe second and third examination.

Having seen the work, I have to ask how it was made. That's at least as remarkable, since Wyeth tended towards demanding media. A lot of his work is watercolor, one of the less forgiving media. Then, within watercolor, a lot of his work is done with dry brush technique, which is even more unforgiving. It is, however, the technique that Beatrice Potter used in her photo-realistic scientific studies and children's books. The most impressive, however, is Wyeth'sbody of work done in egg tempera. I've never worked in that medium, and probably never will. It demands even more of the artist, since the paint is essentially made in the moment that it's used, and makes nearly every flaw irreparable. In compensation, though, it offers good permanence, more chance for overpainting, and the highest potential for precision. I can barely imagine the technical skill and singled-minded devotion that Wyeth applied to some of these pieces.

I promised something for the serious student, though, and samples pervade this book. I got the most out of seeing his sketches next to the finished pieces. Others, though, might prefer the photos of scenes he had painted, or the biographical notes, or the scholarship of the writers. The profuse examples of Wyeth's work, however, mean that it can't become dry. I recommend this to anyone who like's Andrew Wyeth's work, or could learn to - and that's just about everyone.

-- wiredweird

This collection of essays, edited by Wanda Corn, covers a lot of territory. It includes background material, a lengthy section on his painstaking technique, and an interview. That's not why I came. I first saw his Helga pictures, none of which are presented here, but they were enough to get me hooked.

The selection of works appeals to both the enthusiast and the novice. For the latter, there's the sentimental "Faraway" (p.82), baffling "Chambered Nautilus" (p.87), and familiar "Christina's World" (p.39). Those are enough to entice a reader into spending time on pieces no less beautiful(p.37), even if the beauty is less apparent to the first, and maybe second and third examination.

Having seen the work, I have to ask how it was made. That's at least as remarkable, since Wyeth tended towards demanding media. A lot of his work is watercolor, one of the less forgiving media. Then, within watercolor, a lot of his work is done with dry brush technique, which is even more unforgiving. It is, however, the technique that Beatrice Potter used in her photo-realistic scientific studies and children's books. The most impressive, however, is Wyeth'sbody of work done in egg tempera. I've never worked in that medium, and probably never will. It demands even more of the artist, since the paint is essentially made in the moment that it's used, and makes nearly every flaw irreparable. In compensation, though, it offers good permanence, more chance for overpainting, and the highest potential for precision. I can barely imagine the technical skill and singled-minded devotion that Wyeth applied to some of these pieces.

I promised something for the serious student, though, and samples pervade this book. I got the most out of seeing his sketches next to the finished pieces. Others, though, might prefer the photos of scenes he had painted, or the biographical notes, or the scholarship of the writers. The profuse examples of Wyeth's work, however, mean that it can't become dry. I recommend this to anyone who like's Andrew Wyeth's work, or could learn to - and that's just about everyone.

//wiredweird

Sure there are much better reproductions of these Wyeth paintings out there, but if you have not purchased this book of 1973 essays do it now for a real treat. Sure everyone is waiting for the catalog raisone, but while you are waiting take a trip into the past with:
A Visit to Wyeth Country by Brian O'Doherty
Andrew Wyeth Interview by Richard Meryman
Andrew Wyeth's Painting Techniques by E.P. Richardson
The Art of Andrew Wyeth by Wanda M. Corn
Sure I bought all the good books first and passed this one over, but at the price it is selling today I'd really recommend these essays to you. Some of us can never get enough Wyeth, and this is good stuff.
4 stars for the reproductions. The text is 5 stars all the way.

Took longer than usual to receive the book (13 days from order). When I did I was very disappointed, the condition had been described as Good but frankly it was junk. After contacting them, they agreed to refund price (incl. shipping), and I didn't have to send it back. I still have the book, but will toss it when I get around to buying another used book to replace it. It is in no condition to be picked up and enjoyed.

I picked up this book at a book sale after visiting the communities of Andrew Wyeth as well as the Wyeth museum in Maine. I thought it might be rather scarce due to its publication date (1973). I was delighted to see all the available copies on Amazon as this is really a remarkable book about a remarkable artist. Any student of American art should acquire and read this insightful illumination of Andrew Wyeth. Printed on heavy paper, the numerous images of paintings are well displayed in Andrew's favorite sepia colors. Sections of the book talk about the artist's life, his view of art, his techniques, his position as an American artist, and his relative significance when compared to his contemporaries. The reader is left with a rather haunting impression of the times and perspectives of A. Wyeth that make him unmistakable and unforgettable.