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The name Wyeth has figured prominently in the history of American art during the past century. For three generations, the Wyeths have captured the imagination and admiration of a wide audience and are today celebrated as one of America’s foremost artistic families. There were paintings and drawings by N. C. Wyeth, his son Andrew Wyeth, and his grandson Jamie Wyeth. All are linked by a commitment to realism, technical brilliance, and a sense of narrative.
Widely regarded as America’s finest realist painter, Andrew Wyeth (1917-2009) is amongst the most popular American artists of the last century. He was elected at the Académie des beaux-arts in 1976. Influenced by the works of artists such as Winslow Homer, Albrecht Dürer, and Thomas Eakins, among others, Andrew painted people and places he knew intimately, both in his hometown of Chadds Ford and at his summer home in Cushing, Maine.
Andrew Wyeth was born in 1917 and died in 2009. He started drawing at a young age. He was a draftsman before he could read. By the time he was a teenager, his father brought him into his studio for the only art lessons he ever had. N.C. inspired his son's love of rural landscapes, sense of romance and artistic traditions. Although creating illustrations was not a passion he wished to pursue, Andrew Wyeth produced illustrations under his father's name while in his teens.
In 1937, at age twenty, Andrew Wyeth had his first one-man exhibition of watercolors at the Macbeth Gallery in New York City. The entire inventory of paintings sold out, and his life path seemed certain. His style was different from his father’s: more spare, "drier," and more limited in color range. He stated his belief that "…the great danger of the Pyle school is picture-making." He did some book illustrations in his early career, but not to the extent that N.C. Wyeth did.
Andrew Wyeth was a visual artist, primarily classified as a realist painter, like Winslow Homer or Eakins. In a "Life Magazine" article in 1965, Wyeth said that although he was thought of as a realist, he thought of himself as an abstractionist: "My people, my objects breathe in a different way: there’s another core — an excitement that’s definitely abstract. My God, when you really begin to peer into something, a simple object, and realize the profound meaning of that thing — if you have an emotion about it, there’s no end."
Dividing his time(...)
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