An insightful and essential new survey of Wyeth’s entire career, situating the milestones of his art within the trajectory of 20th-century American life This major retrospective catalogue explores the impact of time and place on the work of beloved American painter Andrew Wyeth (1917–2009). While previous publications have mainly analyzed Wyeth’s work thematically, this publication places him fully in the context of the long 20th century, tracing his creative development from World War I through the new millennium. Published to coincide with the centenary of Wyeth’s birth, the book looks at four major chronological periods in the artist’s career: Wyeth as a product of the interwar years, when he started to form his own “war memories” through military props and documentary photography he discovered in his father’s art studio; the change from his “theatrical” pictures of the 1940s to his own visceral responses to the landscape around Chadds Ford, Pennsylvania, and his family’s home in Maine; his sudden turn, in 1968, into the realm of erotic art, including a completely new assessment of Wyeth’s “Helga pictures”—a series of secret, nude depictions of his neighbor Helga Testorf—within his career as a whole; and his late, self-reflective works, which includes the discussion of his previously unknown painting entitled Goodbye, now believed to be Wyeth’s last work.

Andrew Wyeth: In Retrospect

Arts & Photography

ADAMS, HENRY

Lewis, Audrey

Stoner, Joyce Hill

Shaw, Gwendolyn DuBois

Podmaniczky, Christine

Junker, Patricia

Baumgartner, Karen

Crosman, Chris

Landa, Mary

Takahashi, Shuji

History & Criticism

Yale University Press

Factory Work examines Andy Warhol's (1928-1987) role as a mentor for two younger artists from opposite corners of the art world. Jamie Wyeth (b. 1946) and Jean-Michel Basquiat (1960-1988) were young, independent artists with their own substantial reputations when Andy Warhol invited each of them to paint in his "Factory" on 860 Broadway, New York City. In 1976 Andy Warhol and Jamie Wyeth painted each other's portraits. They jointly attended openings from 1976 to 1980; the exhibitions were known informally as "The Patriarch of Pop Paints the Prince of Realism," and Warhol visited Wyeth's farm in Pennsylvania. Basquiat rented a studio on Great Jones Street from Warhol beginning in August 1983 and collaborated with Warhol (first as part of a trio including Francesco Clemente) later the same year and in 1984 began joint projects with Warhol alone and exhibited in 1985. Warhol influenced these younger artists, and they enabled him to stay connected to new audiences of an evolving art world. At the same time, Warhol's paintings demonstrably changed due to his contact with Wyeth and Basquiat. The works illustrated provide clues toward further investigation of these two unique partnerships, also documented in Warhol's published diary entries, Interview magazines, and Warhol's tape-recorded conversations. There are four catalogue essays: Robert Rosenblum, Professor of Fine Arts at New York University and internationally known curator of 20th-century art at the Guggenheim Museum, examines Warhol as mentor for Jamie Wyeth, "a card-carrying member of a Yankee dynasty of three generations of ultra-WASP artists," as well as for Basquiat, the "dark-skinned crazy kid from Brooklyn who began his meteoric career by raucously embracing a counter-cultural life"; Christine Daulton, consultant conservator for the Warhol Museum, describes and provides recreations of the unusual techniques used by Warhol to create his oxidation portraits in the 1970s and 1980s; Joyce Hill Stoner, conservator, art historian, and Director of the University of Delaware Preservation Studies Program, writes about Wyeth's influence on Warhol that can be seen in Warhol's 1976 cat and dog paintings, his 1979 pig photographs and print, and his 1976-1977 skull paintings and self-portraits with skull; Margaret Rose Vendryes of the City University of New York discusses Basquiat's work and his "tagging" of Warhol's commercial images on their collaborative paintings and collages. The text and illustrations also offer insights into the celebrity-obsessed culture of the '70s and the drug- and money-mad art market of the '80s.

Factory Work: Warhol, Wyeth, Basquiat

Vendryes, Margaret Rose

Rosenblum, Robert

W A Farnsworth Library & Art museum

Book signed by the author on the title page. This book accompanies the exhibition Wondrous Strange: Pyle, Wyeth, Wyeth & Wyeth, co-organized and exhibited at Farnsworth Art Museum, Rockland, Maine: July 21 - November 8, 1998 and the Delaware Art Museum, Wilmington, Delaware: December 10, 1998 - February 21, 1999. Covers rubbed. Name in ink at top of title page. ii , 38 pages. stiff paper wrappers. square 4to.

A Closer Look: Howard Pyle, N.C. Wyeth, Andrew Wyeth, and Jamie Wyeth

Delaware Art Museum

Painters N. C. Wyeth (1882–1945), Andrew Wyeth (1917–2009), and Jamie Wyeth (born 1946) all employ extreme perspective and imaginative disorientation to create tension within their works. Wyeth Vertigo explores this common theme and reexamines the role of this “first family” of American painting in the context of World War II, the Cold War, and beyond. Wyeth Vertigo will be of interest to students, scholars, and a general audience focused on American art, the Wyeth family, and mid-twentieth-century visual culture.

Wyeth Vertigo

Nemerov, Alexander

Shelburne Museum

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