Usually exhibited in a corner, near a large painting by Francis Bacon, Andrew Wyeth’s My Young Friend (1970) is often overlooked by visitors at the Thyssen-Bornemisza Museum in Madrid. Looking a bit too sober among its neighbours, and being the only work by Wyeth in the collection, this austere portrait has always had a certain alien quality. This is perhaps due to the public’s lack of acquaintance with the work of the legendary American artist, a situation that the exhibition Wyeth: Andrew and Jamie in the Studio, organised by the Thyssen-Bornemisza in collaboration with the Denver Art Museum, seeks to end.
More than sixty works by Andrew Wyeth (1917-2009) and his son Jamie (1946), some never previously exhibited in public, shape this first retrospective of the Wyeths in Europe. It is, therefore, a unique opportunity to discover the multiple points of connection between the lives and work of two of the main representatives of twentieth-century American Realism.
The exhibition was conceived by curator Timothy J. Standring as an intimate artistic conversation around shared subjects and interests, such as friends, neighbours, animals, familiar settings in Pennsylvania and Maine, and the nude figure.
The strength of the display lies precisely in this decision of grouping the works thematically, juxtaposing both artists’ perspectives and thus allowing visitors to question the commonplace notion of Realism being an objective and detached image of reality. The continuous dialogue between father and son highlights not only their joint sensibilities, but also the originality of their individual visions. While Andrew’s images show his interest in everyday themes, Jamie’s gaze seeks the bizarre and the unexpected. They are both deeply engaged with their immediate surroundings, but retain their own personal points of view and approach the blank surface in radically different ways.
This becomes particularly evident when comparing Andrew’s solid, more naturalistic depictions of his neighbours-turned-models with Jamie’s expressive use of white to create his ghost-like portraits of celebrities such as Rudolf Nureyev and Andy Warhol. The latter is perhaps one of the most beautiful and poignant depictions of the late artist, a haunting image that stays with you long after you leave the museum.
This journey through the Wyeths’ lives, interests and places that inspired them is complemented by The Secret Sits (Wyeth Wonderland), a display of photographs by Joséphine Douet, who followed Andrew Wyeth’s steps in his native city of Chadds Ford (Pennsylvania, USA) and captured her own vision of the artist’s reality.
This comprehensive retrospective, which risks being overlooked like the portrait of Andrew Wyeth’s young friend, is not only a rare chance to see the works of these two artists in Europe, but also an unmissable event for those who regularly visit the Thyssen. By contextualising this delicate female portrait, the Spanish museum has successfully illuminated an obscure corner of its collection, enabling future visitors to evoke the whole universe that the Wyeths wanted to express through their art when they see the painting.