We welcome guest contributors to the on-going discussion and debate on Preacher and Big Daddy.
First of all, don’t miss Loeb Award-nominated Ben White’s exposé on the front page of today’s New York Times. He will discuss this on MSNBC this evening! (Between 6:00 and 6:45.)
Secondly, just kidding about the cufflinks thing. Anybody who wants to chime in on the bedraggled Hoyas or Wizards or any other sporting subject: you are welcome.
The Hoyas have a huge game against Marquette coming up on Saturday.
Third, here is our first guest feature article, by Dr. Ann White. It is a commentary on our recent Art Lovers’ Poll…
Hopper’s Sympathy vs. Wyeth’s Poses
I’m glad that Hopper won the art lovers poll but sorry that he won by only one vote.
The two artists don’t belong in the same category of greatness.
Wyeth is a kind of poseur, a painter of pictures pretending to be a great artist. The girl in the much admired “Christina’s World” looks unnatural and affected in that pose. Why is she holding herself in that posture? No real girl would ever adopt such a pretentious-looking pose. Wyeth paints as though he is standing outside people’s lives, looking on and not involved, trying to paint something “great.”
Edward Hopper’s paintings have nothing of the pretentious about them. He paints an American world of buildings from a particular time, and he paints the people who know those buildings in their day-to-day lives. Somehow you know as you look at one of his pictures — whether you see people in the buildings or not — that the artist knows and feels the loneliness and sadness and hope of the people who go in and out of those buildings. He paints as though he is one of them — not looking on from the outside. Conveying that kind of empathy is the mark of a great artist.
Hopper is a truly great artist. Wyeth is only pretending to be one.