Andrew Wyeth. (1917-2009). Christina’s World. (1948).
Andrew Wyeth is a realistic painter American known as regionalistic, he represents rural reasons, meadows of at his place in Maine or in Pennsylvania.
When it begins painting it uses nuances the brown ones and of gray only and uses the painting watered with water with a binder (egg, milk or adhesive). He takes as a starting point his entourage to carry out his paintings. Its preferred subjects are the ground and the inhabitants of its birthplace, like its close relations.
These paintings are sometimes melancholic and raise the question of the time which passes and the human condition. Christina's world is a painting strange and attractive each one can imagine its own scenario. The atmosphere is heavy, full with threats, the spectator is posed many questions, feels a danger in the landscape, but all this is wanted by the artist who opens the door with uncertainty by carrying out a scene enough ambiguity and paradoxical.
With the first glance the spectator realizes that the buildings are on a hillock and that the young girl is downwards. However the young girl and the houses are on the level of the eyes of the spectator. Concerning the prospect and the point of view the painter does not take account of the slope that it lets appear and that it however reproduced.
Christina is located on the lower tension field. Between 2 natural points of interest.
Its face is close to the geometrical center of the fabric.
The Character occupies 1/3 of pictorial space, the houses and nature the 2 other thirds.
The painting is built on the ascending diagonal. Christina has all his body, on the ground, tended towards the house. It is guessed badly if it is aggressive and which are its intentions. The character and the house are bound by a bond of which each one imagines nature. This situation gives an aspect and a fantastic atmosphere to the picture.
Christina Olson is the neighbor of the painter. She is paralyzed, she made a fall, she crawls towards the house of her parents because she needs assistance. The artist sees it in this position of the 1st floor of the house. He reproduces the scene of memory. As the character is seen back and not of face one does not see his distress.
Here the farm of Olson, close to Wyeth. The colors are dark, it seems hostile. At that time in Maine these wood houses are dismountable. They are foreign with the landscape because it was current that at the end of a few months the dwellings are moved.
A good height separates the character from the house. This small hill resembles an abrupt wall which is put across the course of Christina. This one is thus downwards compared to the residence. The position of the young woman can let think that it squatted to be dissimulated, in fact one it spectator can logically wonder who is hostile, the house towards Christina or the young girl towards the house.
At the level of the light rather paradoxically Christina and the house are treated in an opposite way. As much the character is flooded of light so much so that it pink of its dress seems diluted and faded, as much the house is in the half-light. For Christina the sun is with his zenith, at midday, for the house it with fell the night.
Colors : Harmonize and contrasts.
Harmonize between hot colors.
Andrew Wyeth. winter. (1940).
The author likes to represent the people of his environment in nature. The colors of this painting are close to those of the of Christina's world. As well as the treatment of the landscape.
Andrew Wyeth. A Wyeth Spring Fed. (1967).
The colors obtained with tempera, the brown ones, the gray, white colors dark and the orange ones lend themselves well to the representation of the rural world in which saw the artist. The expression painter of the daily painter more than regionalistic takes all its dimension here.