Posts Tagged ‘andrew wyeth’

When I was in grad school I had to study my own art and artistic process and write a thesis about it. It was then that I discovered the niche where my art belongs in the Art World – a style called Magic Realism.

The term “Magic Realism” was first used by Franz Roh in his book, Nach-expressionismus (Post-Expressionism) written in 1925.  He later used the same term in 1968 in his new book German Art in the 20th Century.  He also called this new development in art “The New Objectivity” (F. Roh, German Art in the 20th Century. Greenwich: New York Graphic Society, 1968, 112.) By using the term Magic Realism Roh is referring to Post-Expressionistic artwork in which some mystery or secret seems to be hidden within the subject matter.  As opposed to Expressionism, “Magic Realism emphasizes the object and the everyday life in new and unfamiliar ways.  Juxtapositions of sharply rendered and detailed elements, both in the foreground and back ground, are used to develop an air of mystery or ambiguity.  They remind us that there are still many mysteries in life.”  http://www.tendreams.org/magic-art.htm

Roh used the following dichotomies to highlight the differences between Expressionism and Magic Realism:

Expressionism: Magic Realism:
Ecstatic subjects
Close-up view
Thick color texture
Emphasis on the visibility of the
painting process
Expressive deformation
Sober objects
Puristically severe
Close and far view
Thin paint surface
Effacement of the
painting process
External purification of the object
(Roch. 113)

I found more similarities with my artwork among the attributes of Magic Realism than Expressionism.  I believe that my style developed more towards representational, quiet, static images in painting, turning daily life into eerie form, with a thin paint surface, although I experimented with the opposite qualities as well, never finding much satisfaction in them. Some of my works are more surrealistic (Caged and If I Could Have Opened My Heart), while others (In the Room With Memories or In the Room With the Magic Ball) can be referred to as Magic Realism.

In Art History, Magic Realism acted as a portal to Surrealism, and many artists shifted back and forth from one to another, especially Magritte (Roch, 138).  When I discovered the website ww.tendreams.org  I found a few artists there who I knew before and considered them as influences, but did not realize that they belonged to the Magic Realism group, among them Andrew Wyeth, George Tooker and Charles Scheeler. These artists sometimes crossed the boundaries between Surrealism, Symbolism and Magic Realism. My work also shifts back and forth across the boundaries of Surrealism and Magic Realism, while a large number of other works as you can see on my website www.allaparsons.com are just studies from life: Figure, Still Life and Landscape. I feel the need to work on these Life Studies and I am constantly working to improve my skills in observational drawing and painting. However I consider Magic Realism my major work which takes a longer time to go through the process in my mind, before ripening and appearing, first on sketchbook pages and then on canvas.


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Magic Realism: Paintings and Drawings by Alla Parsons
You are cordially invited to the Artist Reception
3:00 – 5:00 PM – Sunday, February 10 at

Robert F. Cage Gallery in Prizery

700 Bruce Street, South Boston, Virginia 24592
Preview Artist Work at


Like her page on Facebook!

Exhibition will run February-March, 2013

The reception is free and open to the public.

Alla holds MFA in Painting and teaches Art Classes at Danville Museum of Fine Art and History. Contact the Museum for more information.

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April 13 – April 28, 2012

 Alla Parsons Art Exhibition

Reception: April 21, 7-9PM

with the Artist Talk at 8 pm.

Between Reality and Imagination

at Gourmet Frog Art Gallery:  312 Main St., Danville, VA 24541


Kristina's World. Oil painting on canvas. 60x48. 2010.

      Alla Parsons is originally from Russia where she received her basic art training. In the United States she continued her art studies at the university level and earned a Bachelors of Fine Arts degree in Painting from Minnesota State University Moorhead and a Master of Fine Arts degree from Georgia Southern University. Her style can be described as Magic Realism – art in which some mystery or a secret seems to be hidden within the subject matter.  Juxtapositions of sharply rendered and detailed elements, both in the foreground and background, are used to develop an air of mystery or ambiguity.  Alla says: “My paintings are about the mystery of our everyday life”. She emphasizes the objects of everyday life in new and unfamiliar ways.  She explores her physical, psychological and spiritual self as well as memories, family history and Russian heritage through her work. One can see her being influenced by Symbolism, Surrealism and Russian Icons.  In her work you can also see reflections on growing up in Russia, studying the works of the Old Masters in the Hermitage, and in the largest museums in Europe.

 The Artists Reception is on April 21, from 7 to 9 pm
with the Artist Talk at 8 pm.

Visit artist’s website to see examples of her work:  http://www.allaparsons.com/

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 The work Kristina’s World started after the summer of 2009 when I spent a week on the Ossabaw Island as a visiting artist. Ossabaw Island is one of the barrier islands in Southern Georgia. I created a series of watercolor and oil paintings during that week on the island, made some pastel and ink drawings and took a number of photos. Back in the studio I first continued drawing and painting with chalk and watercolor, but wanted to create a larger image. The image that would reflect powerful and peaceful Nature that I faced while on the island.
I purchased the largest canvas I had ever worked on – 48″x60″ to create an epic image of Ossabaw Island. I began my work with the process that became quite usual for me – a dance in my studio with brushes in my hands, without a clear idea about what to put on the large canvas. It took a few weeks of dancing to cover the surface with random marks of paint. After a while I started seeing the image of a lonely woman sitting on the lonely beach of the island looking into the distance. This reminded me of the famous painting by Andrew Wyeth, Christina’s World.

Andrew Wyeth. Christina's World. 1948. tempera on gessoed panel. 32"x47"

I had a classmate, a fellow MFA student, a talented artist herself, who also was with me on the Ossabaw. She was going through a romance story at that time. Her name was Kristina. So, I decided that my painting will be about Kristina, a Woman Artist and her love story. It was a little different story than Andrew Wyeth’s. Christina on his painting is disabled, immobilized, she is longing for something, that she cannot reach.
My Kristina is peaceful and content. She is a self-confident artist (as a symbol of being an artist she is holding a brush in her hand). As my dancing progressed, additional figures emerged on the canvas. At Kristina’s feet is standing a nude man, ready to kneel, perhaps posing for her or presenting her a flower. In the drips and smudges of paint I saw his figure and believed this was Andrew Wyeth, himself. I posed for both figures: Kristina’s and Andrew’s myself, taking photographs. To make a strong historical connection with the “source” I found a profile portrait of the artist and copied his ear exactly to achieve some likeness of two personages.

Kristina's World. 2009-2010. oil on canvas. 48"x60"

A peaceful, almost ideal scene is completed with the image of sunset and animals surrounding my figures. All the animals are real, I observed and photographed them on the island. Donkeys, armadillos, horses, wild pigs and alligators are all familiar creatures of the South Georgia coast and Ossabaw Island. Especially the pigs. The big pig in front of the painting was a real wild hog who was conditioned to visit the house where we lived and eat from the waste bucket. All the food leftovers were carefully collected and waited for his return. We were told by the groundkeeper, that for some reason the pig’s name was Paul Mitchell… Strange… The owner’s dog, who also is in the painting, was especially dear to me. This dog (on the left of the painting) was almost an exact replica of my beloved dog from my childhood in Russia. The dog on Ossabaw Island liked me and followed me around. I believe it was a reincarnation of my childhood friend.
I could not immediately figure out why I was painting all of the figures on my painting with their eyes closed… All, except for the pig. It became more clear for me when I saw a famous group portrait of the surrealist group – actually a photomontage of a photograph by Man Ray and a painting by Magritte.

Anonymous photomontage. La Revolution Surrealiste, N15 (December 1929)

In this photograph all the members of the surrealist group have their eyes closed. It reflects on the philosophy of surrealism that things are not really what we see with our eyes. To see the real truth we have to turn to our dreams. The figures in my painting have their eyes closed because they are living in their dreams.
Stop! Then why the wild boar has opened eyes?
Pigs have often been used as a symbol of evil in paintings by symbolist artists. I wanted to use that symbolism in my painting and express the idea that evil never rests. My reason for doing this is similar to the reason used by Renaissance artists for placing a skull in a still life. Painters during the Renaissance often included skulls, a fly or other symbols of death in their still life paintings. This was intended to remind the viewer of the temporal nature of this world , about the fragility of life and human mortality. The figure of the pig in this painting is a transitional figure between the romanticized world and the Underworld – the world of Life and the world of Death.
After working for about a year on this painting and having all these thoughts running in my mind, I decided to add another panel to the painting that could create a vision of the Underworld. The idea did not come to me all at once. At first, I had thought about incorporating the skull of a pig or some bones in a lower part of the composition of Kristina’s World, as another way to make a connection to the Renaissance. But there was not really left any space for that.
While walking on Ossabaw island I discovered an area where the ground was covered with partially skinned and boned remains of the pigs. There is a large number of wild pigs on the island and some hunting is allowed. I guess some hunters skinned their kills and left what they did not need leaving a gruesome site. I took photos of that scary scenes.
My initial idea had expanded as I worked on the Kristina’s World painting. While working on this piece, many unfortunate things happened in my life including the deaths of relatives and friends. I recorded these events on the back of the painting as if in a diary. I felt compelled to extend the piece by adding a separate panel under it. In doing this I was following the Renaissance tradition of juxtaposing images of life and death.

Remnants of the Pigs. 2011. oil on canvas. 20"x48"

Remnants of the Pigs has a long and narrow landscape format, which was inspired by the Renaissance painting by Hans Holbein The Body of the Dead Christ in the Tomb.

Hans Holbein. The Body of the Dead Christ in the Tomb.1521, oil on wood,

Combining these two paintings Kristina’s World and Remnants of the Pigs creates a juxtaposition of the dualities of human life. It reflects on life and death, beauty and ugliness and how we often see it in our lives side by side.

At last, in Kristina’s World I am reflecting on the position of a female artist in a contemporary world. There is a reversal of traditional roles – artist and a model – in this painting. The woman, Kristina, becomes the more important, dominant figure because of the fact that she is represented as clothed. Showing a clothed man besides a nude woman in the traditional painting was a way to portray a man as a more powerful and active figure, a creator, an artist. A classical example of that approach would be a famous painting by Manet The Luncheon on the Grass (Le déjeuner sur l’herbe).
In the contrast with Manet, in my painting there is a figure of a man, kneeling, nude, presenting a flower to Kristina. His pose is subordinate; he is a secondary character, an object of our gaze in this painting. By doing so I am not trying to make fun of a male figure or make him look submissive or weak. My idea for this painting is a representation of a true Love. When people are in love they become vulnerable and may be funny. I am showing an intimate and romantic scene, with a sunset and the animals coming to adore the beauty of the moment. Love is glowing with warm colors as they come out of the man’s chest and brighten the world around him. There is a specific music I was listening while working on it – Mahler, Symphony #5, Part IV Adagietto. This music is so beautiful, to me it describes the feeling of true love.

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