Name: Isle au Haut (L. 31)
Brand: Fairfield Porter
Rating: 5 (54 reviews)

Isle au Haut (L. 31)

View Similar Items

Anna Ticho - German Israeli Expressionist Abstract Bush in Judea Lithograph

Anna Ticho - German Israeli Expressionist Abstract Lithograph Of Judeah Hills

Anna Ticho - German Israeli Expressionist Abstract Lithograph Of Jerusalem Landscape

Fairfield Porter - New York City Street Scene (L.18), Fairfield Porter

Bruno Zupan - Computer City

Unknown - Mid century Israeli Expressionist

Fairfield Porter - Street Scene

Henry Moore - Multitude II Henry Moore yorkshire landscape black and white abstract drawing

Peter Max - LADY WITH FEATHERS Signed Lithograph, Woman's Face Profile, Exotic Feather Hat

Joe Goode - Grey Folded Clouds - II Blue and white

Alexander Calder - Derriere le Miroir #201

Richard Kozlow - "The Island of Formentor" By Richard Kozlow. Printed in U.S.A.

About the Item

Artist: Fairfield Porter (1907-1975) Title: Isle au Haut (L. 31) Year: 1975 Medium: Lithograph on Arches paper Edition: 100, plus proofs Size: 28.5 x 23.75 inches Condition: Excellent Inscription: Signed and numbered by the artist Notes: Published by Brooke Alexander, Inc. The final limited edition of the artist’s life. FAIRFIELD PORTER (1907-1975) Fairfield Porter was an intelligent and enigmatic artists because he was a realist in an era dominated byAbstract Expressionism. He was good friends with many of the Abstract Expressionists, especially Willem de Kooning, He was also an art critic who wrote for "Art News" and "The Nation". Porter was also a conservationist, activist, and polemicist who opposed nuclear arms, pesticides, urban sprawl, and the Vietnam War. Porter’s art and art criticism combine to form a coherent and independent interpretation of art and art history. Fairfield Porter was born in Winnetka, Illinois, a small suburb north of Chicago. His paternal grandmother had owned land in Chicago that eventually became its Loop area, which provided the Porter family with the financial means for a comfortable lifestyle. Porter's parents were literate and well educated. His father, James Porter, was an architect who designed the family’s Greek Revival home, and his mother, Ruth, was a politically progressive woman who supported the suffrage movement and racial equality. Porter’s family traveled extensively during his youth, so that by the time he was a teenager, he had been exposed to a wide variety of arts and ideas. In 1924, Porter, like his father and grandfather before him, attended Harvard University. It was there that he received his first art education, although it had little direct impact on him. Following his graduation in 1928, Porter moved to New York and began taking classes at the Art Students League. Porter was eager to study there with various teachers who were also professional artists, such as Boardman Robinson and Thomas Hart Benton. However, Porter was soon disappointed by the curriculum at the League, which emphasized life drawing to the exclusion of painting. Porter later recalled that he abandoned the League because, "Nobody taught painting there. I mean you could paint if you wanted to. But they didn't know how to paint. There wasn’t anybody in the League who knew how to paint. . . . I don’t think anybody in America knew how to paint in oils at that time (interview with Paul Cummings, June 6, 1968, Archives of American Art, Washington, D.C., as quoted in John T. Spike, Fairfield Porter: An American Classic [1992], p. 34). In the 1930s, struggling to get his professional painting career off the ground, Porter tried his hand at progressive, social arts, painting murals and designing magazine covers for the Socialist party and other leftist organizations. He also made his first foray into art criticism, contributing an essay on mural painting to "Arise" in 1935. Despite Porter’s many connections to, and sympathies with, various left-wing political factions in New York, he never identified himself as belonging to any one group. This was to be a recurring theme in Porter’s life, in which he circulated freely among various social and intellectual groups and movements without ever committing himself completely to any one of them. In 1938, Porter saw an exhibition of paintings and prints by Pierre Bonnard and Edouard Vuillard at the Art Institute of Chicago, an eye-opening experience which changed the course of his style of painting. Although the effects of seeing these pictures didn't fully materialize until later in his career, Porter cited Vuillard as the single greatest influence upon his own work. He recalled: "Another reason I paint the way I do is that in 1938 we were living in Chicago and in the Art Institute in Chicago there was an exhibition of Vuillard and Bonnard, both of them. I had never seen so many Vuillards before or maybe so many Bonnards before. And I looked at the Vuillards and thought — maybe it was just a sort of revelation of the obvious and why does one think of doing anything else when it’s so natural to do this (Cummings interview, as quoted in Spike, op. cit., p. 62)." Porter understood his own work as an extension of the sensual and representational achievements of Vuillard, recording impressions at hand with a confident use of color and light. He eschewed traditional techniques of contour and form, and the inherent lack of spontaneity that follows, that he associated with artists such as Thomas Hart Benton. Thus, in his pictures, he strove for a freshness and vitality similar to the abstract painters of his generation, but they are grounded in a less theoretical, more realistic approach. Porter’s oil paintings are immediate, sensual impressions of the world immediately before him, unconstrained by any adherence to a particular theory. Like many of the abstract painters, Porter appreciated the materiality of paint and its effects on the surface of the canvas. He painted with Maroger’s Medium, an additive to oil paints that makes them more fluid and freely brushed onto the canvas. Although Maroger’s was available commercially, Porter always preferred to make his own. He wanted a rich surface texture that recall not only Bonnard and Vuillard, but also Diego Velázquez, whom Porter admired. Porter’s output during the 1940s was uneven, and he ultimately destroyed many of his works from this period once his career began to reach its full swing. It wasn’t until the early 1950s that his career began to take off. This can be explained, in part, by the fact that Porter’s son, John, born in 1934, suffered from some form of mental retardation similar to autism, which took many frustrating years to diagnose. In a 1958 letter to his friend, Arthur Giardelli, Porter explained: John was sick from birth with a mysterious illness that was never quite understood. . . . No psychiatrists or doctors seemed to know anything definite about him, and the result on me was that I really did nothing for about the first ten years of his life but try to somehow help him. This was a most frustrating experience, because I was trying to solve something for which there was no solution. Then it was only after that, that is after deciding, on advice from a psychiatrist, to send him to a foster home, that I began to have a career or life of my own" (as quoted in Spike, op. cit., p. 132). Introduced by his friend, Willem de Kooning, Porter began to exhibit at the Tibor de Nagy Gallery in New York, which was known primarily as a venue for Abstract Expressionist painting. Porter’s work, largely landscape pictures of the areas of Southampton, New York, where he and his family lived, eventually gathered a following of critics and collectors who otherwise had interest in non-objective painting. It was during this time that the roots of Porter’s career as a critic also began to grow. He took issue with contemporary art critics, including Clement Greenberg, George L. K. Morris, Wyndham Lewis, and other proponents of Abstract Expressionism, whom he saw as “manifesto critics” who imposed personal theories of art upon the work they reviewed. Porter felt about criticism as he did about his art: that it should be as free of dogmatic adherence to theory as possible, and that art should be considered on its own merits. Porter crossed swords with these writers on many occasions, and he often wrote to the publications that printed their essays to object to their points of view. However, he left the intellectual sparring out of his own essays. Porter’s criticism is thoughtful and sensitive, and exhibits his encyclopedic grasp of art history and a depth and breadth of knowledge about contemporary art that few others shared. He wrote for "Art News" from 1951 to 1959, and "The Nation" from 1959 to 1961, when he stopped writing regular columns so that he could devote himself fully to painting. (For a thorough reading of Porter’s art criticism, see Rackstraw Downes, ed., Fairfield Porter: Art In Its Own Terms, Selected Criticism 1935-1975 [1979].) Porter did his best work during the last fifteen years of his life. His style loosened somewhat, and he incorporated more abstract forms and colors and recorded a freer and more immediate impression of his subjects. In his lifelong pursuit of realistic, non-abstract subjects, however, Porter was far ahead of his time, particularly in painting portraits of his family and friends, a genre that wasn’t taken seriously by the art world until years later.

Creator:
Fairfield Porter (1907-1975, American)
Creation Year:
1975
Dimensions:
Height: 28.5 in (72.39 cm)Width: 23.75 in (60.33 cm)
Medium:
Lithograph
Movement & Style:
Expressionist
Period:
1970-1979
Framing:
Framing Options Available
Condition:
Gallery Location:
Fairfield, CT
Reference Number:
1stDibs: LU134216990172

More From This Seller

View All

New York City Street Scene (L.18), Fairfield Porter

By Fairfield Porter

Located in Fairfield, CT

Artist: Fairfield Porter (1907-1975) Title: Street Scene (L.18) Year: 1969 Medium: Lithograph on Arches paper Edition: 69/100, plus proofs Size: 22.25 x 30 inches Condition: Excellen...

Category

1960s Expressionist Landscape Prints

Materials

Lithograph

Fairfield Porter
New York City Street Scene (L.18), Fairfield Porter, 1969

$2,396 Sale Price

20% Off

Reverie of Don Quichotte in the Night (Michler/Löpsinger 1001-1012; Field 57-1)

By Salvador Dalí

Located in Fairfield, CT

Artist: Salvador Dali (1904-1989) Title: Reverie of Don Quichotte in the Night Year: 1957 Medium: Stone lithograph in colors on papier japon nacré paper Edition: 233 Size: 16.25 x 12...

Category

1950s Surrealist Abstract Prints

Materials

Lithograph

Salvador Dalí
Reverie of Don Quichotte in the Night (Michler/Löpsinger 1001-1012; Field 57-1), 1957

$6,000

Don Quichotte Overwhelmed (Michler/Löpsinger 1001-1012; Field 57-1)

By Salvador Dalí

Located in Fairfield, CT

Artist: Salvador Dali (1904-1989) Title: Don Quichotte Overwhelmed Year: 1957 Medium: Stone lithograph in colors on papier japon nacré paper Edition: 233 Size: 16.25 x 12.875 inches ...

Category

1950s Surrealist Abstract Prints

Materials

Lithograph

Salvador Dalí
Don Quichotte Overwhelmed (Michler/Löpsinger 1001-1012; Field 57-1), 1957

$6,000 Sale Price

7% Off

Dawn (Michler/Löpsinger 1001-1012; Field 57-1)

By Salvador Dalí

Located in Fairfield, CT

Artist: Salvador Dali (1904-1989) Title: Dawn Year: 1957 Medium: Stone lithograph in colors on papier japon nacré paper Edition: 233 Size: 16.25 x 12.875 inches Condition: Good Inscr...

Category

1950s Surrealist Abstract Prints

Materials

Lithograph

Salvador Dalí
Dawn (Michler/Löpsinger 1001-1012; Field 57-1), 1957

$6,000 Sale Price

7% Off

Talking Machines #4, Robert Bennett

By Robert Bennett

Located in Fairfield, CT

Artist: Robert Bennett Title: Talking Machines #4 Year: 1979 Medium: Lithograph on Stonehenge paper Size: 22 x 30 inches Edition: 10/100, plus proofs C...

Category

1970s Abstract Expressionist Landscape Prints

Materials

Lithograph

Robert Bennett
Talking Machines #4, Robert Bennett, 1979

$876 Sale Price

20% Off

Talking Machines #2, Robert Bennett

By Robert Bennett

Located in Fairfield, CT

Artist: Robert Bennett Title: Talking Machines #2 Year: 1979 Medium: Lithograph on Stonehenge paper Size: 22 x 30 inches Edition: 14/100, plus proofs C...

Category

1970s Abstract Expressionist Landscape Prints

Materials

Lithograph

Robert Bennett
Talking Machines #2, Robert Bennett, 1979

$876 Sale Price

20% Off

20th Century Expressionist Landscape Prints

Materials

Lithograph

Anna Ticho
German Israeli Expressionist Abstract Bush in Judea Lithograph

$850

German Israeli Expressionist Abstract Lithograph Of Judeah Hills

By Anna Ticho

Located in Surfside, FL

Anna Ticho (אנה טיכו ) (1894-1980) was a Jewish artist who became famous for her drawings of the Jerusalem hills. Anna Ticho was born in Brno, Moravia, then part of the Austro-Hungarian Empire (today the Czech Republic) in 1894. At the age of 15, she began to study drawing in Vienna in an art school under the directorship of Ernst Nowak...

Category

20th Century Expressionist Landscape Prints

Materials

Charcoal, Lithograph

Anna Ticho
German Israeli Expressionist Abstract Lithograph Of Judeah Hills

$850

German Israeli Expressionist Abstract Lithograph Of Jerusalem Landscape

By Anna Ticho

Located in Surfside, FL

Anna Ticho (אנה טיכו ) (1894-1980) was a Jewish artist who became famous for her drawings of the Jerusalem hills. Anna Ticho was born in Brno, Moravia, then part of the Austro-Hungarian Empire (today the Czech Republic) in 1894. At the age of 15, she began to study drawing in Vienna in an art school under the directorship of Ernst Nowak...

Category

20th Century Expressionist Landscape Prints

Materials

Lithograph

Anna Ticho
German Israeli Expressionist Abstract Lithograph Of Jerusalem Landscape

$850

Computer City

By Bruno Zupan

Located in Paonia, CO

Computer City is a frenzy of colors and action. This is a city scene with stop lights, parking signs, directional signs, stop signs, digital time clock, buildings, streets and a mass...

Category

1970s Expressionist Abstract Prints

Materials

Screen

Bruno Zupan
Computer City, 20th century

$1,500

Mid century Israeli Expressionist

Located in San Francisco, CA

Bit of a mystery here. Really well done colored Linocut A very expressionistic style of a landscape with trees. I’m pretty sure it’s signed in Hebrew but cannot translate. A very low...

Category

Mid-20th Century Expressionist Landscape Prints

Materials

Linocut

Mid century Israeli Expressionist

$550

Street Scene

By Fairfield Porter

Located in New York, NY

Porter's first color lithograph. A very good impression on Arches with strong colors. Signed and numbered 25/100 in pencil. Printed by Mourlot, New York. Published by Brooke Alexande...

Category

1960s Abstract Expressionist Landscape Prints

Materials

Color, Lithograph

Fairfield Porter
Street Scene, 1969

$4,500

Isle au Haut (L. 31)

View Similar Items

Fairfield Porter
Isle au Haut (L. 31)
1975

About the Item

More From This Seller

1960s Expressionist Landscape Prints

Fairfield Porter
New York City Street Scene (L.18), Fairfield Porter, 1969

1950s Surrealist Abstract Prints

Salvador Dalí
Reverie of Don Quichotte in the Night (Michler/Löpsinger 1001-1012; Field 57-1), 1957

1950s Surrealist Abstract Prints

Salvador Dalí
Don Quichotte Overwhelmed (Michler/Löpsinger 1001-1012; Field 57-1), 1957

1950s Surrealist Abstract Prints

Salvador Dalí
Dawn (Michler/Löpsinger 1001-1012; Field 57-1), 1957

1970s Abstract Expressionist Landscape Prints

Robert Bennett
Talking Machines #4, Robert Bennett, 1979

1970s Abstract Expressionist Landscape Prints

Robert Bennett
Talking Machines #2, Robert Bennett, 1979

You May Also Like

20th Century Expressionist Landscape Prints

Anna Ticho
German Israeli Expressionist Abstract Bush in Judea Lithograph

20th Century Expressionist Landscape Prints

Anna Ticho
German Israeli Expressionist Abstract Lithograph Of Judeah Hills

20th Century Expressionist Landscape Prints

Anna Ticho
German Israeli Expressionist Abstract Lithograph Of Jerusalem Landscape

1970s Expressionist Abstract Prints

Bruno Zupan
Computer City, 20th century

Mid-20th Century Expressionist Landscape Prints

Mid century Israeli Expressionist

1960s Abstract Expressionist Landscape Prints

Fairfield Porter
Street Scene, 1969

Recently Viewed

Isle au Haut (L. 31)

View Similar Items

Fairfield PorterIsle au Haut (L. 31)1975

About the Item

More From This Seller

1960s Expressionist Landscape Prints

Fairfield PorterNew York City Street Scene (L.18), Fairfield Porter, 1969

1950s Surrealist Abstract Prints

Salvador Dalí­Reverie of Don Quichotte in the Night (Michler/Löpsinger 1001-1012; Field 57-1), 1957

1950s Surrealist Abstract Prints

Salvador Dalí­Don Quichotte Overwhelmed (Michler/Löpsinger 1001-1012; Field 57-1), 1957

1950s Surrealist Abstract Prints

Salvador Dalí­Dawn (Michler/Löpsinger 1001-1012; Field 57-1), 1957

1970s Abstract Expressionist Landscape Prints

Robert BennettTalking Machines #4, Robert Bennett, 1979

1970s Abstract Expressionist Landscape Prints

Robert BennettTalking Machines #2, Robert Bennett, 1979

You May Also Like

20th Century Expressionist Landscape Prints

Anna TichoGerman Israeli Expressionist Abstract Bush in Judea Lithograph

20th Century Expressionist Landscape Prints

Anna TichoGerman Israeli Expressionist Abstract Lithograph Of Judeah Hills

20th Century Expressionist Landscape Prints

Anna TichoGerman Israeli Expressionist Abstract Lithograph Of Jerusalem Landscape

1970s Expressionist Abstract Prints

Bruno ZupanComputer City, 20th century

Mid-20th Century Expressionist Landscape Prints

Mid century Israeli Expressionist

1960s Abstract Expressionist Landscape Prints

Fairfield PorterStreet Scene, 1969

Recently Viewed

Fairfield Porter
Isle au Haut (L. 31)
1975

Fairfield Porter
New York City Street Scene (L.18), Fairfield Porter, 1969

Salvador Dalí
Reverie of Don Quichotte in the Night (Michler/Löpsinger 1001-1012; Field 57-1), 1957

Salvador Dalí
Don Quichotte Overwhelmed (Michler/Löpsinger 1001-1012; Field 57-1), 1957

Salvador Dalí
Dawn (Michler/Löpsinger 1001-1012; Field 57-1), 1957

Robert Bennett
Talking Machines #4, Robert Bennett, 1979

Robert Bennett
Talking Machines #2, Robert Bennett, 1979

Anna Ticho
German Israeli Expressionist Abstract Bush in Judea Lithograph

Anna Ticho
German Israeli Expressionist Abstract Lithograph Of Judeah Hills

Anna Ticho
German Israeli Expressionist Abstract Lithograph Of Jerusalem Landscape

Bruno Zupan
Computer City, 20th century

Fairfield Porter
Street Scene, 1969