Thoughts on Jamie Wyeth, Expectations of the Artist, and the finished Stormy Sailing painting

Recently I read a couple reviews of the Jamie Wyeth retrospective at the MFA in Boston that were critical of the show, the main point being that his work as a whole lacked a unifying purpose, that he was technically exceptional, but without the capital A in Artist.

I suppose thinking of his work in these terms makes sense given the show was about his career, but I also wonder if that’s what we should expect of an artist. If you took Winslow Homer’s work over his life, would there be that unifying purpose? Maybe the struggle and wildness with man and nature, but does an artist have to have such a theme? I can understand the critique of Jamie Wyeth, but some of the comments across multiple reviews (one in the Boston Globe) about his gull paintings seeming like a nightmarish version of something you might find in a seaside New England town’s local arts gallery seemed a bit off. His gull paintings were remarkably potent, and the Inferno painting showcased also in video was incredible to me. They had a twist to them that clearly separated them from what could be called “tourist art.”

Wyeth had a range of styles, including expertise in the Wyeth family way, but I see this range as potentially representative of an exceptionally talented artist trying to find his own voice among the many he can channel, and sometimes that challenge can be more meaningful than the challenges of one who clearly has his own voice. I see it as representative of this larger human struggle to understand ourselves and our own potential.

I wonder about my own art. I have neither the skill not potential of any Wyeth, but that isn’t the point. I, like anybody else, am just trying over time to figure things out. Painting happens to be a pretty fun and phenomenal way to do that, being useful and influential beyond just the problem of conveying and conversing visually.

Here, in this sailing painting, I am working through a style that I have been pursuing over this year–one of somewhat rough brushwork, of materiality in watercolor. Watching the Wyeth Inferno video at the exhibit and also available on YouTube got me comfortable being more aggressive on the brushes–Princeton Neptune faux squirrel brushes happen to be great for this because they are high quality but very affordable, so you can really mess around without worrying about wrecking them. You don’t need them to keep the point, that’s what the sables of stuff synthetics are for. You can see my work on the sail especially comes from scrubbing the brush into the paper, letting it dry out. I like showing that I used a brush, letting some of the effort come through because that also makes the work more interactive, more conversational–or at least I can pretend it does.

Part of the narrative about Jamie Wyeth is a son trying emerge from the shadow of his father. Another part, as Andrew Wyeth put it, was a competition. Andrew Wyeth said in his biography, “When you get fame–you see, I’m in competition with my son whether I want to be or not. Just the fact that I exist as a painter.” I don’t like either of these characterizations. I prefer not in the shadow of, or in competition with, but in conversation with.

Thanks for reading.


Finished barn painting


I finished the woodpile and darkened a few areas this morning, then, when it dried, I put a thin glaze of nickel azo yellow and yellow ochre over the top to tint it. It is a little more yellow than in the photo. I think the tint worked well for the subject given the age of the barn. More drama.

I tried using cad red light more in the painting as a base for the wall. I usually use cad red light as an accent but I am learning to use it better in mixes.

I have been thinking more about Jamie Wyeth’s work as I painted this and will return to that in a later post. For now, thanks for reading.

Placing shapes and washes

I moved this painting a little further this morning, laying in the some washes and shapes and working out the barn. The colors aren’t right throughout, but I intend to adjust them in the later stages. For this morning I just wanted to get the shapes in. This is probably not the best painting to use to think through what I saw in the Jamie Wyeth exhibit, but I think the point for me in this one is to just work on overall tinting of the painting, getting the right mood. More thoughts on Wyeth later. For now, here’s what I worked out this morning.


New Studio, New Painting, New Influence

I’m moved in to my new house now, and I’ve got a nice studio set up in what ordinarily be the “formal living room” just off the foyer. It has wonderful light coming in throughout the day. Thanks to my dad, I now have one of his drafting tables and a studio light. I’m most excited about these two things with a real connection. I love the paint stains, the battered lamp. I remember using this table when I was a kid and he was at his big table.

I’ve started my first painting in the new studio. After seeing the Jamie Wyeth exhibit in Boston this summer, I decided to try a few works with yellow light tinted color schemes. He was really an amazing painter. I might prefer his work to his father’s, if only because he seems to have more range. His paintings of gulls are so potent. I’m not up to that challenge yet, so for this one I’m confining myself to a scene of an old barn by Betty’s Neck in Lakeville.