On occasion in these posts, I have had the pleasure of sharing thoughts and comments about a favorite work of art.
Such is the case here, as described in the opening pages of the document referred to here. Written for a private organization in New York, the purpose here was to provide historical and background information about a particular painting in the collection. The results of that research would combine with my own “telling” of the story of what I found, giving future viewers a point of view that would be meaningful to them.
It’s a long document, and as its author it is my hope that the length won’t discourage readers. On the other hand, skipping around in the following pages is fine, too. Either way, if I’ve been successful we’ll come up with new insights and perhaps even a new (or different) perspective about art and society in an earlier time, as we think about them today, and, hopefully, in the future.
In introducing the essay, Celestina Cuadrado, the curator of the collection, provided her own commentary:
One of the things I love about my job is completing research requests. Many of these queries come from outside researchers who have questions about artist members or works in the collection. My favorite requests are from members who want to know, frankly, what the heck they are looking at.
About two years ago, GUY ST. CLAIR asked me what we had on the portrait of WILLIAM WALTON. Guy had spent many an evening admiring this East-Room portrait and wanted to know more. I sent him what little information was in the file, along with a promise of help, in return for his findings. What we both thought would be a brief essay on the artist and the sitter turned into an informative timeline of friendship and loss. …
Special thanks to Guy St. Clair, who best embodies curiosity. And to Andrew Berner who embodies another as his editor.
I am very grateful to Celestina Cuadrado and to all others who helped me with the project.
—Guy St. Clair
To access the essay, click here.