Andrew WyethÉtats-Unis, 1917–2009Mending Fences
Peut-on la contempler ?
Non : l’œuvre a été volée et elle est recherchée
Listed in the FBI's National Stolen Art File under no. 00106.
- Vérifié
- · Signalé
- Dans cet état depuis
- Source
- Un registre des œuvres volées
Notice
Au catalogue
Sources
- Le registre des œuvres volées du FBI
- Image : FBI National Stolen Art File
Pendant ce temps, chez Andrew Wyeth
La vie entière1950–1970s
The Kuerner farm, his subject for 30 years
His Chadds Ford neighbours Anna and Karl Kuerner and their farm were among Wyeth's chief subjects for nearly 30 years: “I didn't think it a picturesque place. It just excited me, purely abstractly and purely emotionally.” In “Brown Swiss” (1957), named after Karl's cows, there are no cows — only their tracks in the grass.
1958
A mill on the Brandywine becomes home and studio
In 1958 the Wyeths bought an 18th-century mill on the Brandywine River near Chadds Ford and converted it into a home and studio; from then on the artist spent winters in Pennsylvania and summers in Maine, hardly ever leaving the East Coast.
1960s
Turning to portraiture
In the 1960s Wyeth began to paint portraits: his friend Tom Clark (“Garret Room”, 1962), his neighbour Adam Johnson (“Adam”, 1963), his sister Carolyn (“Up in the Studio”, 1965).
