Word: viewers
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Dates: during 1960-1969
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Though he underestimated the expressive element in photography, his eye would discover patterns in the world around him, composed by telephone poles or sharecroppers sitting on a porch. These compositions are most interesting to the modern viewer. His documentary honesty strengthens his more creative ventures with a spontancous naturalism. His scenes are not arranged like a still life...
These pictures let the viewer perceive the hardness of the concrete handball court and the emptiness of the rubble-filled lot. Unlike records of desolate faces these more abstract photographs do not call for a calculated response. We must come close to the picture, search the indefinite spaces to discover our feelings toward...
...brown, grey and yellow panels on which the prints are exhibited harmonize with the paper colors of the prints themselves and quietly offset the black etched lines. The subtle installation does not distract the viewer in his investigation of the intricate linear designs...
...FIRST state of the print is a general statement. But in the second state Rembrandt refined the face, darkening the curve of the lips, and enunciating the cheek. One eye, large and black, opens in a tentative expression. The other one tightens in its scrutiny of the viewer. Rembrandt again blurred the features in a third state. Now the eyes are of equal size. And an arch scratched in at the top of the page brings de Jonghe forward. Finally Rembrandt cut deep shadows into the cape grabbing the focus away from the face. And the print seller becomes...
...Rembrandt, or did Rembrandt merely illustrate a different aspect of his nature? Or is it the artist's own opinion of de Jonghe that develops through the changing states? The prints spin out the shifting relationship between artists and sitter. Beyond this the progression suggests that changes within the viewer himself will make a print appear different each time he approaches...