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拍品專文
With an original blend of simplicity and intricate detail, Andrew Wyeth is best known for elevating the everyday into timeless visions of poignant beauty. In his masterful Day Dream, Wyeth updates the archetypal female nude into both an artistic study of light and atmosphere, as well as a psychologically engaging analysis of secret intimacy. Depicting the artist’s most notorious model Helga Testorf, Day Dream balances a crisp, monochromatic palette with detailed tempera brushwork to eternalize one of the most fruitful relationships of his career as a lasting image of ethereal beauty.
In the 1970s, Wyeth was at a crossroads. After completing almost four hundred works over thirty years, mostly inspired by the Kuerner family, his neighbors in Chadds Ford, Pennsylvania, he faced an inspirational crisis when the patriarch of the family, Karl, became ill. A new muse entered in the form of Helga Testorf, a 38-year-old German woman helping around the Kuerner home as a nurse. For the following fifteen years, from 1971 to 1985, Wyeth created 240 works featuring Helga. He later confessed, “I was entranced the instant I saw her…Amazingly blond, fit, compassionate. I was totally fascinated by her” (quoted in Andrew Wyeth: Helga on Paper, New York, 2006, p. 12). While the majority of the series was kept secret, a select few paintings of Helga, including Day Dream, were shown and sold during these years of creation. The extent of the series was only later revealed in August 1986, appearing as headline news on the covers of Time and Newsweek. From contemplative to titillating, the Helga works have captivated audiences ever since with their intense intimacy.
Wyeth completed over 35 drawings and watercolors of Helga in various poses of sleep, including three drawings and two watercolors directly related to the present work. In Day Dream he immerses Helga’s form within the bright west-facing upstairs bedroom of Eight Bells, the Wyeth family home in Port Clyde, Maine. Central to the work’s success is his signature medium of tempera. Under closer inspection, the swathes of analogous whites and tans explode with detail as the artist delights in the nuances of the diverse textures and the subtleties of his brushwork. The result is a subtle radiance that floods the composition, almost from beneath.
As seen in many of Wyeth’s best works, Day Dream notably includes windows—a signature motif prevalent throughout his career, perhaps most famously in Wind from the Sea (1947, National Gallery of Art, Washington, D.C.). In Day Dream, Wyeth uses the two open windows and the transparent canopy between Helga and the viewer to explore concepts of physical and emotional distance. As Anne Knutson writes, “Wyeth associates the liminal spaces of thresholds with psychological states of thinking, imagining, and dreaming; the paintings become magical chambers where dreams are played out.” More specifically, Day Dream “explore[s] the intersection of desire, sleep, and dreams. The window, which suggests boundaries that cannot always be crossed with impudence, intensifies the illicit potential of these paintings of sleeping nudes” (Andrew Wyeth: Memory & Magic, Atlanta, 2005, p. 75).
Wyeth himself declared, “The heart of the Helga series is that I was trying to unlock my emotions in capturing her essence, in getting her humanity down” (quoted in op. cit., 2006, p. 15). Over the years of painting Helga in intimate privacy, Wyeth gained a familiarity with his muse, yet also maintained a barrier between subject and artist as their interactions were kept secret. The results of this intense relationship are mesmerizing pictures that juxtapose elements of purity and openness with tones of concealment and distance. Day Dream epitomizes this careful balance that made the Helga series a phenomenon and further established Andrew Wyeth among the icons of twentieth-century art.
In the 1970s, Wyeth was at a crossroads. After completing almost four hundred works over thirty years, mostly inspired by the Kuerner family, his neighbors in Chadds Ford, Pennsylvania, he faced an inspirational crisis when the patriarch of the family, Karl, became ill. A new muse entered in the form of Helga Testorf, a 38-year-old German woman helping around the Kuerner home as a nurse. For the following fifteen years, from 1971 to 1985, Wyeth created 240 works featuring Helga. He later confessed, “I was entranced the instant I saw her…Amazingly blond, fit, compassionate. I was totally fascinated by her” (quoted in Andrew Wyeth: Helga on Paper, New York, 2006, p. 12). While the majority of the series was kept secret, a select few paintings of Helga, including Day Dream, were shown and sold during these years of creation. The extent of the series was only later revealed in August 1986, appearing as headline news on the covers of Time and Newsweek. From contemplative to titillating, the Helga works have captivated audiences ever since with their intense intimacy.
Wyeth completed over 35 drawings and watercolors of Helga in various poses of sleep, including three drawings and two watercolors directly related to the present work. In Day Dream he immerses Helga’s form within the bright west-facing upstairs bedroom of Eight Bells, the Wyeth family home in Port Clyde, Maine. Central to the work’s success is his signature medium of tempera. Under closer inspection, the swathes of analogous whites and tans explode with detail as the artist delights in the nuances of the diverse textures and the subtleties of his brushwork. The result is a subtle radiance that floods the composition, almost from beneath.
As seen in many of Wyeth’s best works, Day Dream notably includes windows—a signature motif prevalent throughout his career, perhaps most famously in Wind from the Sea (1947, National Gallery of Art, Washington, D.C.). In Day Dream, Wyeth uses the two open windows and the transparent canopy between Helga and the viewer to explore concepts of physical and emotional distance. As Anne Knutson writes, “Wyeth associates the liminal spaces of thresholds with psychological states of thinking, imagining, and dreaming; the paintings become magical chambers where dreams are played out.” More specifically, Day Dream “explore[s] the intersection of desire, sleep, and dreams. The window, which suggests boundaries that cannot always be crossed with impudence, intensifies the illicit potential of these paintings of sleeping nudes” (Andrew Wyeth: Memory & Magic, Atlanta, 2005, p. 75).
Wyeth himself declared, “The heart of the Helga series is that I was trying to unlock my emotions in capturing her essence, in getting her humanity down” (quoted in op. cit., 2006, p. 15). Over the years of painting Helga in intimate privacy, Wyeth gained a familiarity with his muse, yet also maintained a barrier between subject and artist as their interactions were kept secret. The results of this intense relationship are mesmerizing pictures that juxtapose elements of purity and openness with tones of concealment and distance. Day Dream epitomizes this careful balance that made the Helga series a phenomenon and further established Andrew Wyeth among the icons of twentieth-century art.