In this second posting I am going to continue with the commentary by Ann Lee Morgan on Dickenson’s contribution to the development of Dream Theory.
” Dickenson’s most impressive achievements comprise large moody paintings filled with incoherent images discontinuous spaces and lights flickering through deep shadows”. .
” These dream like scenes cannot be rationally deciphered , although their strongly constructed compositions and authoritative brushwork insure their pictorial power”. .
Morgan goes on to explain the significance of the Fossil hunters in Dickenson’s work.
” the enigmatic (Fossil Hunters) centring on a sleeping figure surrounded by a tumult of drapery alludes in its title to the artists interest in geological remains for embedded traces of the distant past”. .
” He is also known for softly rendered landscapes and for a long series of self portraits which often convey disquieting psychological effects”. .
I have inserted some modern artists with some of their nudes like Francis Cunnnigham and Lennart Anderson to show how Dickenson disfigured and disjointed his images to give them a psychological view of their inner torment.
Morgan now comes on to discuss O Louis Gugliemli and his contributions to Dream Theory. In many ways Gugliemli was a much sharper artist in his Iconography and D’eouvre.
” Gugliemli , painter accenting individual /isolation and the irrationality of social institutions . his bizarre visions of the 1930’s achieve an unusual American Synthesis of surrealism and Left wing politics”. .
” Indebted also to precisionism ( Scheeler , Demuth and O’Keefe) and the socialist realist faction , his best known works also exemplify important aspects of magic Realism”. .
Morgan argues that at times Gugliemli had a formal approach to painting involving the disfiguration and altering of images very much like Cezanne and the Cubists.
” He began to emphasize the formal aspects of painting often fragmenting and rearranging his still clearly delineated forms”. .
” Eventually he (Gugliemli) adopted a completely abstract form of painting related to non representational forms of surrealism and abstract Expressionism”. .
Morgan continues her commentary on Gugliemli .
” Gugliemli’s socially orientated paintings such as (relief blues) depicting 4 dejected adults whiling away their time in an impoverished apartment”. .
Morgan now comes on to discuss (Terror in Brooklyn) which has a number of psychological traits in the painting showing that both Dickenson and Gugliemli knew how to distort pain and terror.
” (Terror in Brooklyn) depicts three women in mourning trapped within a bell jar in-congruously located on a desolate street”. .
” The 19th Century Commercial architecture is embellished with odd details such as a berib-boned pelvis suspended high on the side of a building. The women’s anguished pain and loss the glass enclosure prevents contact with others”. .
This completes my investigation of the Dream theories of Edwin Dickenson and O Louis Gugliemli.
- THE OXFORD DICTIONARY OF AMERICAN ART AND ARTISTS ANN LEE MORGAN . PG. 122.
- DITTO. PG.122