George Bellows at the National Gallery of Art

First, I'm feeling better. I just might do something today ... as in paint!

George Bellows (American, 1882-1925), New York, 1911, oil on canvas, Collection of

 Mr. and Mrs. Paul Mellon

Yesterday (Friday), husband Randy and I decided to turn recuperating time into doing-something-I've-been-wanting-to-do time ... and we headed to the George Bellows exhibit at the National Gallery of Art in DC late afternoon. With time being short, we had to skip the movie about him (I guess I'll have to go back) and just concentrated on the exhibit.

George Bellows, Blue Morning, 1909, Chester Dale Collection

George Bellows had been originally known to me, as he is to many, for his boxing scenes ... gritty, violent paintings that weren't exactly up my alley. In recent years, I've also seen other glimpses of him -- portraits of Chester and Maud Dale that hung on previous visits in the East Wing of the National Gallery and scenes from New York on exhibit at the Pennsylvania Academy of Fine Arts. In all, there's energy mixed with no worries of refinement.

This is a fantastic exhibit. Bellows drawings were as compelling as his paintings ... with the same energy of line as brushstroke. Some (actually most) of his figures are just caricatures. It's the crowd, the action that he wants you to see -- not the individual.

My favorites were the New York scenes because they were, to me, the most beautifully painted. For all his penchant for grittiness and the seedier side of urban life, Bellows paintings of snow scenes and the Palisades are rich with color and light. He draws you in ... makes you look.

What I Took Away From the Exhibit

Each time I spend the time to look through an exhibit ... whether in a gallery or museum or elsewhere, I do a little soul-searching. What did I learn? Is there something to apply in my work? Other observations?

From George Bellows, I am reminded to strive for the big shapes (see them in Blue Morning?) and energetic paintings. The irregularity of the fence is something that comes naturally to me, too ... though my instinct might be to straighten it out. To correct. This crooked fence stands out in stark contrast to the structure that frames the painting. It's perfect by being imperfect. Contrast is key.

Slightly askew buildings okay: Sunset in NYC, ©Jill Banks 2012

Both Blue Morning and New York are in the permanent collection of the National Gallery of Art. The George Bellows retrospective exhibit is on view in the West Wing of the National Gallery, June 10 through October 8, 2012. I urge you to go take a look.

Exhibits and Events

May 20-June 30, Wayne Plein Air Exhibition 2012, one of 34 artists juried to participate in a plein air competition and exhibit in and around Wayne, PA (May 15-19). Gala Preview and Artists' Reception, Saturday, May 19, 6-10pm at the Wayne Art Center. Exhibition to follow May 20-June 23 at the Wayne Art Center.  Eight pieces for purchase/on exhibit.

August, Visiting Resident Studio Artist, Torpedo Factory, 105 N. Union St., Alexandria, VA, Studio #333

August 1-10, "Quiet" in Salmagundi Club's Annual Photography and Graphics Exhibition held at Denise Bibro Fine Art, Chelsea, NYC.

Sunday, October 14, MPA Artfest Outdoor Juried Arts Festival, McLean Central Park, McLean, VA

Saturday and Sunday, October 20&21, Great Falls Annual Studio Tour, 10am-5pm, visit artists in their studios throughout Great Falls on a self-guided tour. I’ll be at the Artists’ Atelier, 1144 Walker Road, Suite G, Great Falls, VA 22066

Web: www.jillbanks.com
 Blog: jillbanks.blogspot.com
100 Faces in 100 Days Project

Email
Phone: 703.403.7435