Making it precise
July 6, 2018 § 1 Comment
A MAGICAL THING sometimes happens when an unexpected door opens. The excellent Precisionism exhibition at the de Young Museum in San Francisco starts off with two of the few surviving paintings by Gerald Murphy. Who?
Gerald Murphy’s introduction to painting began in September 1921 when he happened in Paris to come upon some paintings by Pablo Picasso, Georges Braque and Juan Gris. “I was astounded,” he said. “My reaction to the color and form was immediate. To me there was something in these paintings that was instantly sympathetic and comprehensible.”
He began immediately to take lessons from the Russian painter Natalia Goncharova, and in the next seven years he completed 14 paintings, of which only seven have survived, and it is on these seven that his reputation rests.
It is said that although the artist chooses his subject, at times it seems rather that the subject has chosen the artist. Such was surely the case with Gerald Murphy. Outwardly his life on the Cote d’Azur was the essence of gaiety and vitality. It was not the bright colors that surrounded him on every side that he chose for his canvases, but the somber tones, the 14 shades of gray in Watch (1925) that overwhelm the watch’s gold encasement. His greatest paintings depict with great objectivity and precision the triumph of time and death.
— William Jay Smith in Making It New