MS01.01.03.B02.F16.003

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[HANDWRITTEN ON YELLOW LINED PAPER]

3

ally and formally [crossed out] without [/crossed out] in a most
sophisticated manner. It is in still life painting that Porter joins
the ranks of Black artists Duncan, Bannister and Tanner pursuing
with commensurate skill [crossed out] still [/crossed out]
arrangements of flowers and fruit in the manner that these
painters undertook the [crossed out] pursued [/crossed out]
study of nature as revealed [crossed out] apologies doubt [/crossed out]
in landscape and religious subjects.

[crossed out] When [/crossed out] Porter usually chose subjects
of familiar flowers such as asters, carnations, chrysanthemums,
daisies, morning glories, pansies, peonies and
zinnias. [crossed out] These His [/crossed out] Numerous flowers
[crossed out] exhibit [/crossed out] studies [crossed out] were [/crossed out]
arranged from time-to-time in an exciting
mix using with the bouquet a clear glass vase
in which the water line is represented
as a tonal code marking the exact
center of the composition. The artist is convincing in
his depiction of water seen through clean glass as one observes
the stems of the flowers within. In other works, ceramic vases are
chosen for neutral contrast between flowers
of a bouyant range of colors from
creamy white to alizarin crimson. Never
is there an attempt by the artist to shock the viewer
with a Fauvist formula or display [crossed out] even [/crossed out]
the [crossed out] a [/crossed out] full range of symphonic colors
nature often provides in the speciment Porter
chose to depict.

The chiaroscoru method of painting
appealed [crossed out] heavily [/crossed out] greatly to Porter
[crossed out] and [/crossed out] seldom
is the still life rendered in a manner
which objects do not exist in front of a
characteristically dark and brooding background.
While light [crossed out] and its painting [/crossed out] while
painted concisely and directionally
to certain elements of the composition
is importantly addressed as somewhat tenebrist
in nature, it is [crossed out] not permitted [/crossed out] seldom
seen as active positive space or as atmospheric
color of this kind [crossed out] when [/crossed out] observed in an
impressionist format. The spell of the chiaroscuro
formula is occasionally broken when
the artist [crossed out] renders [/crossed out] paints with
lightness of hand [crossed out] form and subject, a [/crossed out]
a few compositions in which [crossed out] daisies are the
subject [/crossed out] a light pallette is chosen. One such subject
uses daisies as the central theme. Here a ceramic vase
ranging chromatically from gray to blue [crossed out] giv provides
an [/crossed out] blends in ideally in the composition and provides
an [crossed out] conceived [/crossed out] upward
thrust [crossed out] to the composition [/crossed out] which,
excepting for the [crossed out] central [/crossed out] subdued
yellow color in the center of the flowers, is a masterly
[crossed out] study [/crossed out] painted

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