Painters Paintings Frank Weston Benson (1862–1951): The Silver Screen (detail), 1921, Oil on canvas…

Painters Work Frank Weston Benson (1862–1951): The Silver Display screen (element), 1921, Oil on canvas, 92.07 x 112.08 cm (36 1/four x 44 1/eight in.), Museum of Superb Arts, Boston

Benson’s data present that, from 1919 by means of 1936, he painted one large-format oil nonetheless life per yr in the course of the winter months in his studio on Boston’s Riverway. He most definitely labored on ‘The Silver Display screen’ there in the course of the winter of 1921, utilizing fruit as a substitute of out-of-season contemporary flowers to enhance his composition. A plain silver and bronze Japanese display screen supplies the backdrop for a transparent glass fruit bowl, a small ceramic vessel, and a Chinese language ginger jar. These objects relaxation on an early American gate-leg desk partially hid by three oriental silk materials draped over its high. Certainly one of these, a pale yellow kimono, has been tossed carelessly apart, as if shed rapidly by its wearer. The ginger jar, standing alone on the proper like a dignified sentinel, supplies a powerful vertical aspect echoed by the stark panels of the display screen, the legs of the desk, and the folds of material.

Benson thought-about design a very powerful a part of a nonetheless life, and he chosen studio props for his or her colour, form, and texture to create a harmonious composition.
The oval gate-leg, or drop-leaf, desk turned the first image of the Colonial Revival motion and seems extra usually than every other piece in turn-of-the-century Boston interiors.
Benson had featured the gateleg desk in his nonetheless life work since 1917, when he paired it usually with different colonial objects like brass candlesticks and a pewter cream pitcher.

He invented nonetheless life parts when mandatory, however he took care to signify the Chinese language ginger jar in The Silver Display screen with virtually photographic accuracy.
Archival pictures present that Benson’s use of color, placement of figures, and abbreviation of panorama parts on his painted jar seem similar to the true object.
(Museum of Superb Arts, Boston)

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