What kind of art did Grace Hartigan do?
This work shows Hartigan coming into her own as an artist, combining both painterly brushwork and her burgeoning interest in figurative art. This painting was the first in a series, based on 12 prose poems by Hartigan’s friend Frank O’Hara, entitled “Oranges: 12 Pastorals.”
Why did Grace Hartigan paint the Oranges 12 pastorals?
This painting was the first in a series, based on 12 prose poems by Hartigan’s friend Frank O’Hara, entitled “Oranges: 12 Pastorals.” O’Hara often wrote about his spontaneous creative process and it may have been this that intrigued Hartigan – how to translate the immediacy of his creativity into her own work.
Where did Grace Hartigan live in New Jersey?
Photograph by Duane Suter. Courtesy Grace Hartigan. Grace Hartigan grew up in New Jersey, where she married the boy next door after graduating from high school. She saw the 1935 film Call of the Wild and decided on a whim to move to Alaska with her new husband.
What does Summer Street by Grace Hartigan mean?
Summer Street implies urban action and movement through choppy brushwork, without directly representing it.
This work shows Hartigan coming into her own as an artist, combining both painterly brushwork and her burgeoning interest in figurative art. This painting was the first in a series, based on 12 prose poems by Hartigan’s friend Frank O’Hara, entitled “Oranges: 12 Pastorals.”
This painting was the first in a series, based on 12 prose poems by Hartigan’s friend Frank O’Hara, entitled “Oranges: 12 Pastorals.” O’Hara often wrote about his spontaneous creative process and it may have been this that intrigued Hartigan – how to translate the immediacy of his creativity into her own work.
Summer Street implies urban action and movement through choppy brushwork, without directly representing it.
Why was Grace Hartigan interested in John O’Hara?
O’Hara often wrote about his spontaneous creative process and it may have been this that intrigued Hartigan – how to translate the immediacy of his creativity into her own work. Hartigan had declared in her journal in October 1951 that for her “the ‘all-over’ picture is finished. It had become a formula.”
