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Jenness CortezDiva2022
2022
About the Item
"I’ve turned a decidedly nontraditional eye to the world of flowers––those forms which constitute one of the most traditional and ubiquitous subjects in the history of art. Combining abstraction and realism, my intention is for these contemporary paintings to communicate both the intelligence and personalities of specific flowers, as well as the greater, invisible energy fields from which these forms arise.
Flowers may be so familiar that we often delude ourselves into thinking we really know these characters, even while finding them “sentimental”, “old fashioned” or “purely decorative”--if we notice them at all. Or, we may take genuine aesthetic pleasure in their brilliantly designed form, color and scent, yet give their lives no further thought. Familiarity has blinded us, precluding our valid perception of these outrageous, hyper-energetic manifestations of creative desire.
Their life’s work, we seem to believe, begins and ends in their service to us, as they grace our gardens and dining room tables, greeting cards and lapels. But I know these players well, and my intention is to show them for what they really are: physical manifestations of potent, raw, sexual energy. Those astounding energies are the real subject of my paintings. I am offering my visualized depictions of that energy in every square inch of the painting, for the delivering blossom is but one of that vibrational field’s tsunami of formerly invisible manifestations.
The flower itself is but the physical instrument of the greater vibrational field that whispers, sings and shouts its lust for union. Although to us flowers may be merely beautiful, they are--without exception--supremely well equipped agents, undertaking serious missions of seduction to ensure the continuation of their species. Their intention is accomplished with wit, grace, cunning and an individualized style and intelligence that delights us, despite the fact that it’s all really none of our business. We too are seduced. Innocent bystanders, perhaps, but nearly as susceptible as those targeted pollinators she intends to snare.” — Jenness Cortez
©2022 by Jenness Cortez
- Creator:Jenness Cortez (1944, American)
- Creation Year:2022
- Dimensions:Height: 36 in (91.44 cm)Width: 36 in (91.44 cm)
- Medium:
- Period:
- Condition:
- Gallery Location:Greenwich, CT
- Reference Number:1stDibs: LU18110237292
Jenness Cortez
Jenness Cortez is a distinguished figure in the contemporary revival of classical realist painting. In her work, Cortez plays author, architect, visual journalist, art historian, curator and pundit to help open our eyes to what we might otherwise have overlooked or taken for granted. Each painting presents a specific theme, mixing straightforward cues and obscure illusions, complemented by references to other artists' lives and times. Each of her works touches upon important questions about the nature of painting and the significance of art objects and presents subtle shades of meaning that invite contemplation. Cortez has been exhibiting her work since 1975 and has had more than 40 solo shows throughout the United States. Her work is in numerous public and private collections, including those of President Ronald Reagan, President Bill Clinton, Governor George Pataki, Governor Hugh Carey, Queen Elizabeth II, the New York State Museum, Skidmore College and SUNY Empire State College.
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By Jenness Cortez
Located in Greenwich, CT
"I’ve turned a decidedly nontraditional eye to the world of flowers––those forms which constitute one of the most traditional and ubiquitous subjects in the history of art. Combining...
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This painting by Jenness Cortez features recreations of the following works, clockwise from upper left:
1. “Girl with a Red Hat,” Johannes Vermeer, 1665-1670, Collection of National Gallery, Washington,
DC
2. “Daughters of Revolution,” Grant Wood, 1932, Collection of Cincinnati Art Museum,
Cincinnati, OH
3. “Arrangement in Gray and Black-Number One,” James McNeill Whistler, 1871, Collection of
Musee d’Orsay, Paris
4. “The Gleaners,” Jean Francois Millet, 1890, Collection of Musee d’Orsay, Paris
5. “Sha-Ko-Ka” (”Mint,” A Pretty Girl), George Catlin, c.1832, Collection of Smithsonian American
Art Museum,Washington, DC
6. “Atalanta” (Bronze sculpture), Paul Manship, 1921, Collection of Smithsonian American Art
Museum, Washington DC
7. “Purple Robe and Anemones,” Henri Matisse, 1937, Collection of Baltimore Museum of Art,
Baltimore, MD
8. “Parvati,” South Indian Bronze...
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