Imagine New York City bathed in a light "far more beautiful than Paris or Rome," as artist Fairfield Porter (1907-1975) once described it. This wasn't a romanticized vision, but a lived experience captured in his captivating cityscapes.
The Parrish Art Museum's new exhibition, "Across the Avenues: Fairfield Porter in New York," throws open the doors to a captivating collection (through June 16th). Featuring 23 oils, four lithographs, and a sketchbook, the show unveils a lesser-known facet of Porter's artistic genius.
Curated by Kaitlin Halloran with supervision from Corinne Erni, "Across the Avenues" draws upon the Parrish's vast Porter collection, boasting 241 works. In 1980, Porter's widow, Anne, generously donated a treasure trove of portraits, still lifes, landscapes, and cityscapes painted in and around their cherished homes.
Born into an affluent Chicago family, Porter's artistic journey began at Harvard University under the guidance of Fogg Art Museum director Arthur Pope. Drawn to the vibrant energy of New York City, he moved there in 1928 and honed his painting skills at the Art Students League under the renowned American Regionalist Thomas Hart Benton. His architect father instilled in him a deep appreciation for both art and architecture.
Porter belonged to a generation of artists mesmerized by New York City's frenetic pace, its colossal scale, and its perplexing blend of isolation amidst bustling crowds. The dramatic play of light became a signature element in his work, transforming the city into an improvisational theater where everyone is both performer and spectator.
While Porter's artistic career truly blossomed after 1950, his influence as a painter and critic was undeniable. He moved comfortably within the circles of New York School artists and poets. His artistic sensibilities drew inspiration from the bold colors of Pierre Bonnard, the intimate perspectives of Édouard Vuillard, and the expressive abstractions of his friend Willem de Kooning.
A staunch realist, Porter believed the human figure held an inexhaustible artistic potential. Both his paintings and his writing challenged the dominance of abstract art in postwar America. "Across the Avenues" offers a glimpse into Porter's artistic evolution through these cityscapes. Some unfinished works, alongside nearly abstract pieces like "Untitled (East 11th Street)" (c. 1961) and "City Street" (c. 1970), reveal his masterful ability to weave together observed details, emotional impressions, and a touch of geometric simplification with artistic invention.
The exhibition unfolds in three distinct sections. The first showcases oils from the early 1940s, followed by works spanning the mid-1940s to the early 1970s. The final section, housed in a hallway gallery, features prints and Porter's captivating sketchbook. Here, two near-identical pastel lithographs, "Sixth Avenue I" and "Sixth Avenue II" (both 1971), depict a summery New York bathed in soothing grays and pastel hues, with the Empire State Building looming like a spectral presence in the distance.
Most of Porter's cityscapes, however, are a stark contrast. Rendered in oil on canvas or Masonite, they capture the city's grime, grit, and a sense of unease. A muted urban palette of cool grays, browns, and blues is enlivened by surprising bursts of color, reflecting the city's inherent vibrancy. In "Sunset" (c. 1948), blackened buildings come alive under a streaked pink and turquoise sky, their windows pulsing with electric blue-green, orange, and yellow.
Porter, a master of subtle characterization, brings his subjects to life with a few well-placed strokes. The anxiety of navigating a bustling avenue is palpable in "Street Scene" (c. 1943), where a woman clutches her bag, resembling a racehorse at the starting gate behind a "No Parking" sign. The street itself, a canvas of contrasting warm afternoon light and cool shadows, is populated with the glossy black and gray figures of passing cars. However, a burst of fiery red, mauve, and salmon hues from a row of brick townhouses adds a touch of comforting beauty.
