Olivia
The continuity of William Harnett’s style, his attention to detail, was retained from his first years as a silversmith, throughout his travels in Europe, and into his later career (Cotter). The clarity and precision of his still life works are in keeping with trompe l'oeil realism, literally translating to deceptions of the eye (Encyclopædia Britannica). The artist exploited his abilities with the brush to produce meticulous reproductions of objects, sometimes using layers of paint to create a three dimensionality (Cotter). At the time, his work was prized for its deceptive qualities, celebrated for its verisimilitude (Albright-Knox Art Gallery). Yet only in subsequent eras was the artist’s regard for content and composition appreciated as viewers, in retrospect, absorbed the inescapable truths of the era through realistic encapsulations of commonplace decor. With both his traditional still lifes of fruit in his early years and his evolution toward more masculine portrayals of pipes and mugs in his later years, Harnett explored the significance of simple objects through allegory (Cotter). Reflecting the ethos of the Gilded Age, Harnett’s attention to material goods emphasizes the growing materialism of the era (Cotter). In accordance with his affluent patrons’ commissions, the painter adopted a miniaturist style when depicting the tasteful trinkets as markings of wealth (Wilmerding). Harnett discards manufactured goods in favor of handmade objects of earlier eras. Yearning for a simpler time, questioning the proliferation of commercial goods, Harnett’s simple depictions demonstrate the havoc of Western industrialization in the late 19th century.
In 1892, Harnett longed for the antiquated era of simplicity with his Old Models. On a vertical canvas, the artist reiterates his archetypical subjects (a Dutch jar, a golden violin) in a fresh composition (Stebbins). Through his signature style of realism, with stark outlines and the three dimensionality of a ledge, Harnett endows the piece with startling veracity (Stebbins). Among his greatest of accomplishments is his technical dexterity in depicting texture, his ability to portray the frayed edges of a sheet of music and the splintering wood of an abused door. Elegantly positioned within a wooden doorframe, the grouping of objects is illuminated, energizing the lifeless subject with a sense of purpose (Museum of Fine Arts Boston). Here, the tattered books, tarnished instruments, and antiquated jar, all painted in dulled, natural tones, are far from the idealized definition of beauty. But the lackluster pieces are glorified by their refined dignity, the augustness of the past. In an appeal to the 19th century collectors of antiques, the work’s undertones recall the treasured achievements of the past (Stebbins). Along with his clients, Harnett proves that objects from our history are capable of triumphing over the wear and tear of time, surviving as emblems of the past.
Works Cited
Cotter, Holland. “Review/Art; William Harnett and the Trompe l'Oeil Still Life.” 20 March 1992. The New York Times. 10 February 2013.
<http://www.nytimes.com/1992/03/20/arts/review-art-william-harnett-and-the-trompe-l-oeil-still-life.html>.
“Old Models.” 2013. Museum of Fine Arts Boston. 10 February 2013.
< http://www.mfa.org/collections/object/old-models-32717>.
Stebbins, Theodore E., et al. A New World: Masterpieces of American Painting 1760 – 1910. London: The Museum of Fine Arts, 1983. 284 – 288.
"trompe l'oeil." 2013. Encyclopædia Britannica. 10 February 2013.
<http://www.britannica.com/EBchecked/topic/606413/trompe-loeil>.
“William Harnett.” Albright-Knox Art Gallery. 10 February 2013.
< http://www.albrightknox.org/collection/collection-highlights/piece:harnett-music-and-literature/>.
Wilmerding, John. American Art. Kingsport: Penguin Books, 1976. 142-143.
Images Cited
“Old Models.” 2013. Museum of Fine Arts Boston. 10 February 2013.
< http://www.mfa.org/collections/object/old-models-32717>.
The continuity of William Harnett’s style, his attention to detail, was retained from his first years as a silversmith, throughout his travels in Europe, and into his later career (Cotter). The clarity and precision of his still life works are in keeping with trompe l'oeil realism, literally translating to deceptions of the eye (Encyclopædia Britannica). The artist exploited his abilities with the brush to produce meticulous reproductions of objects, sometimes using layers of paint to create a three dimensionality (Cotter). At the time, his work was prized for its deceptive qualities, celebrated for its verisimilitude (Albright-Knox Art Gallery). Yet only in subsequent eras was the artist’s regard for content and composition appreciated as viewers, in retrospect, absorbed the inescapable truths of the era through realistic encapsulations of commonplace decor. With both his traditional still lifes of fruit in his early years and his evolution toward more masculine portrayals of pipes and mugs in his later years, Harnett explored the significance of simple objects through allegory (Cotter). Reflecting the ethos of the Gilded Age, Harnett’s attention to material goods emphasizes the growing materialism of the era (Cotter). In accordance with his affluent patrons’ commissions, the painter adopted a miniaturist style when depicting the tasteful trinkets as markings of wealth (Wilmerding). Harnett discards manufactured goods in favor of handmade objects of earlier eras. Yearning for a simpler time, questioning the proliferation of commercial goods, Harnett’s simple depictions demonstrate the havoc of Western industrialization in the late 19th century.
In 1892, Harnett longed for the antiquated era of simplicity with his Old Models. On a vertical canvas, the artist reiterates his archetypical subjects (a Dutch jar, a golden violin) in a fresh composition (Stebbins). Through his signature style of realism, with stark outlines and the three dimensionality of a ledge, Harnett endows the piece with startling veracity (Stebbins). Among his greatest of accomplishments is his technical dexterity in depicting texture, his ability to portray the frayed edges of a sheet of music and the splintering wood of an abused door. Elegantly positioned within a wooden doorframe, the grouping of objects is illuminated, energizing the lifeless subject with a sense of purpose (Museum of Fine Arts Boston). Here, the tattered books, tarnished instruments, and antiquated jar, all painted in dulled, natural tones, are far from the idealized definition of beauty. But the lackluster pieces are glorified by their refined dignity, the augustness of the past. In an appeal to the 19th century collectors of antiques, the work’s undertones recall the treasured achievements of the past (Stebbins). Along with his clients, Harnett proves that objects from our history are capable of triumphing over the wear and tear of time, surviving as emblems of the past.
Works Cited
Cotter, Holland. “Review/Art; William Harnett and the Trompe l'Oeil Still Life.” 20 March 1992. The New York Times. 10 February 2013.
<http://www.nytimes.com/1992/03/20/arts/review-art-william-harnett-and-the-trompe-l-oeil-still-life.html>.
“Old Models.” 2013. Museum of Fine Arts Boston. 10 February 2013.
< http://www.mfa.org/collections/object/old-models-32717>.
Stebbins, Theodore E., et al. A New World: Masterpieces of American Painting 1760 – 1910. London: The Museum of Fine Arts, 1983. 284 – 288.
"trompe l'oeil." 2013. Encyclopædia Britannica. 10 February 2013.
<http://www.britannica.com/EBchecked/topic/606413/trompe-loeil>.
“William Harnett.” Albright-Knox Art Gallery. 10 February 2013.
< http://www.albrightknox.org/collection/collection-highlights/piece:harnett-music-and-literature/>.
Wilmerding, John. American Art. Kingsport: Penguin Books, 1976. 142-143.
Images Cited
“Old Models.” 2013. Museum of Fine Arts Boston. 10 February 2013.
< http://www.mfa.org/collections/object/old-models-32717>.