Winter 2020 Preview

Winter 14 www.afamag.com | w ww.incollect.com H ow does the function of a piece of furniture manifest itself in its form? The basic construct of a chair, for instance, has four legs, a seat, back, and arms for the purpose of providing seating. What happens when, as furniture maker Vivian Beer notes, “ . . . form follows imagination”? Fuller Craft Museum explores this question in From Where I Sit, an exhibit from their permanent collection that celebrates the art of creation through seating (pages 56–63). As told by Beth McLaughlin, the exhibit illustrates examples of how artists use a variety of materials and design concepts to transform the visual definition of a chair or bench. Artists transform their work throughout their careers. Artist Wayne Thiebaud celebrated his 100th birthday in November. Wayne Thiebaud 100 (pages 48–55) reflects on the artist’s work over a lifetime through as many paintings. A cartoonist early in his career, he also painted portraits and landscapes, though the subjects for which he is best known are his orderly still lifes of food, many of these canvases painted from imagination or memories of his time in food service. Thiebaud has also painted a number of self-portraits through the years, that “serve as a means of self-exploration, documenting how he has changed over time.” Rembrandt van Rijn created numerous self-portraits. In Rembrandt and Printmaking in the Netherlands (pages 74–77) Michael Brown illustrates a 1648 self-portrait that the artist reworked over time in three previous versions. In this image, Rembrandt chose to record himself in a moment of introspection and contemplation. He was a master of capturing the essence of the human condition, whether his own or that of his sitters. The portraits on gravestones generally convey more about the stonecutters than their subjects. Whether hinting at a visage and personality or an abstract suggestion of a face, the craftsmen who carved representations of the individuals, couples, and families depicted also recorded essential vital details and often a passage lamenting loss and memorializing those interred. In Discovering Folk Art in the New England Countryside (pages 84–89), Christine Ermence and William Hosley share their appreciation and enthusiasm for the craftsmanship and history found on carved headstones in the rural New England countryside, and encourage others to explore the artful work found on these decorative expressions of material culture. So, take a walk through an old graveyard and discover the outdoor museums across America. Enjoy all this and more in this issue of AFA magazine. Johanna johanna@antiquesandfineart.com Photography by Ellen McDermott LETTER FROM THE EDITOR Clive Devenish Antiques (510) 414-4545 www.clivedevenishantiques.com clivedevenishantiques@comcast.net Member: Antiques Dealers' Association of America Family Portrait (unsigned oil on canvas) 30" high x 24" wide (Attributed) S.V.D. Schans Early 19th C Established 1976