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Christina's World is a 1948 painting by American painter Andrew Wyeth and one of the best-known American paintings of the mid-20th century. It is a tempera work done in a realist style, depicting a woman in an incline position on the ground in a treeless, mostly tawny field, looking up at a gray house on the horizon, a barn, and various other small outbuildings are adjacent to the house. [1]
Andrew Newell Wyeth (/ ˈ w aɪ ɛ θ / WY-eth; July 12, 1917 – January 16, 2009) was an American visual artist, primarily a realist painter, working predominantly in a regionalist style. He believed he was also an abstractionist, portraying subjects in a new, meaningful way.
Between 1939 and 1968, the house was depicted in paintings and sketches by the American artist Andrew Wyeth, including his 1948 masterpiece, Christina's World. [2] Wyeth was inspired to paint Christina's World by the story of Christina Olson, who had lost the use of her legs to, at the time unknown, Charcot—Marie—Tooth disease.
Wyeth is a famous American artist best known for a painting called “Christina’s World,” where a woman lies awkwardly in a field looking up at a small house in the distance. When Paper Boi ...
Letter from Andrew Wyeth to Edward Hopper, 1961, written in wife Betsy's hand. Hopper had asked the fellow American realist to protest the Whitney Museum's drift toward abstract panting.
Cline would also model for Wyeth's painting The Patriot. [5] [2] In the process of development, Wyeth removed the extraneous figures and used a singular model named Shirley Russel. In the end, Wyeth went with Elaine Benner, also a girl from Waldoboro, who Meryman describes as the: "Helga look-alike." [5] Benner would also model for the painting ...
Wyeth believed in the ability of ordinary things to carry symbolism, "profound meaning," and rich emotion. [5] The same is true for Wind from the Sea. Comparing the rigid window frame to Christina's resiliency, the decaying curtains to her disability, and the crocheted birds to her delicate and surviving femininity, Wyeth considered the painting to be a symbolic portrait of her.
This page was last edited on 1 November 2016, at 14:36 (UTC).; Text is available under the Creative Commons Attribution-ShareAlike 4.0 License; additional terms may apply.
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