Word: feild
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Dates: during 1970-1979
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...personal principle, Mr. Feild has never before exhibited his work. The "market-place" aspect of the fine arts he calls "menacing" and "an ultimate racket like the Mafia or patent medicine." The idea of arranging a business contract between artist, dealer and buyer offends Mr. Feild ("how can you price intrinsic value?"). A lifelong socialist, Mr. Feild maintains the ancient craft of picture-making is nearly impossible in a capitalist economy, which judges all objects on utilitarian standards...
...incredibly successful phenomenon of Andrew Wyeth, "an indifferent painter" exemplifies to Mr. Feild the public ignorance. With "no sense for color or pattern." Wyeth has grown rich on a "trick idea --that of recalling the old America." "He knows that if he painted a terrible tumble-down outhouse with a broken toilet seat and called it 'Those Were the Days' people would break down and sob before...
...eliminating human life in his watercolors, Mr. Feild assured no contamination of the natural beauty by an ideological or social content. But the artist himself is a vehement social critic, a non-conformist who has often been considered "a rather dangerous sort of communist." The Aleutian bomb, contemporary art, the environmental crisis, the Indochina war indicate to him a social insanity...
...periods of training in Mr. Feild's career were incorporated in his exhibit. As his first job in America upon return from fighting in World War I and studying art in Paris at the Julian Academy, he was apprenticed to a Boston stainglass maker. Light in one of Mr. Feild's living room windows shines through a round stainglass of St. Francis, a gift of his employer. His sensitivity to light and color were further enhanced at the Disney studios in the late 1930s. Mr. Feild still contends animation is "the total aesthetic experience," the most "difficult art form...
...Feild is a proud possessor of one Turner landscape engraving entitled "Peat Moss of Scotland." He explains its long pedigree. Turner gave it to Ruskin who presented it to Charles Eliot Norton. From Charles Norton it passed to Denman Ross, who gave it to Arthur Pope, a noted Fogg professor and Mr. Feild's one-time boss, during the years Mr. Feild taught the principles of drawing and design at Harvard. Mr. Pope gave it to Mr. Feild, his student and colleague. It seems particularly moving and fitting that this gentle artist and teacher with an independent and fighting spirit...