Talks & Conversations

The Dreams of Arshile Gorky

Part of Modernist Visions
A young boy with pink and tan-colored skin stands next to a seated woman with an ashen white face, and both look out at us in this vertical portrait painting. The scene is created with broad areas of mottled color in rust and coral red, pale pink, lilac purple, ivory white, and shades of tawny brown. The eyes of both people are heavily outlined with large, dark pupils. To our right, the woman’s pale, oval face is surrounded by a muted, mint-green cloth that covers her hair and wraps across her neck. Her eyes are outlined with charcoal gray, and her heavy lids shaded under arched brows with smoky, plum purple. She has a straight nose, and her burgundy-red lips are closed in a straight line. Her long, rose-pink dress is lavender purple below the knee, and is scrubbed with darker pink strokes across her lap. Her sleeves are tan on the upper arms and cream white on the forearm, over two blush-pink forms that represent her hands resting on her thighs. Along the top of her shoulders, her dress is terracotta red. A rectangular, fog-gray form behind her could be a chair or a half-wall, the top edge of which is higher to our right of her head. To our left, the boy has dark brown, short hair over putty pink, protruding ears. The area between his eyelid and arched brow is filled in with chocolate brown, giving his staring eyes a hooded look. His jawline, chin, and lips are outlined with dark brown. His khaki-brown, knee-length coat has pale, rose-pink sleeves and a black collar. An area of pale, ice blue could be a kerchief or high-collared shirt, and he wears fawn-brown pants. One of his slippers is coffee brown and the other, closer to the woman, is slate gray. He holds a loosely painted, pale, turquoise-blue object in one hand at his waist. The pair are situated against a background painted in areas of coral, ruby, crimson, and wine red. Two vertical, concrete-gray strips behind the boy and woman could be columns. The floor along the bottom edge of the painting is pale pink.
Arshile Gorky, The Artist and His Mother, c. 1926-c. 1942, oil on canvas, Ailsa Mellon Bruce Fund, 1979.13.1

Canceled

Arshile Gorky’s art explores themes of memory, nostalgia, bereavement, and healing. His art is a testament to his belief that “Dreams form the bristles of the artist’s brush.” Learn more in this lecture by senior lecturer David Gariff.

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We look across a sandy colored beach or walkway that stretches away from us to our right and then turns ninety degrees to our left in the distance, to enclose a teal-green body of water filled with rows of small rowboats in this nearly square, stylized landscape painting. The scene is loosely painted with vibrant colors, in jewel-toned topaz and royal blue, emerald and mint green, pale orchid purple, golden yellow, cream white, and crimson red. The boats grouped along the beach close to us are lined up in a row along the beach to our right, punctuated by a few vertical masts. The beach across from us in the distance is lined with a cotton candy-pink, pale lavender-purple, sage-green, and pumpkin-orange warehouses in front of a line of cobalt-blue mountains along the horizon, which comes nearly to the top edge of the canvas. The sky is pastel purple, green, yellow, and peach above. The artist signed the work in dark paint in the lower right corner: “Braque.”

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The soaring, gilded vault of a central aisle of the inside of a church fills this horizontal painting. The ceiling of the nave curves up and away from us like a tunnel. It is lined with coffers, which have inset panels, decorated with gold. The light-filled nave angles down from the top center of the composition toward the lower left as it moves away from us. The white stone pillars supporting the barrel vault are intricately carved and decorated with pudgy, winged cherubs holding portraits of men, and aisles run parallel to the central nave to our left and right. In the side aisles, pink marble columns flank altars in chapels. At the far end of the church, the nave is interrupted where it opens into the light-filled crossing, before continuing beyond. Marking the space where the long hall of the church is intersected by a shorter arm to create a cross shape is a structure made of four twisting columns supporting a pointed canopy, all cast in bronze. Tiny men and women pray or gather in pairs and small groups along the nave. Some wear tattered clothing and others are elegantly dressed.

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