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Ellsworth Kelly at Matthew Marks - New York … self-portraiture figures prominently in a drawings exhibit

The sum of two units small drawings at the beginning of this exhibition of 28 self-portraits are from 1944 when Ellsworth Kelly was 21 years aged Self-Portrait at Normandy (1944) is boldly brushed in ink and was roughly torn from a spiral-bound, lined notebook. In an essay for a catalogue that explores this drawing and 23 more, Mondrian scholar Harry Cooper who take pleasure ins access to Kelly on these matters, explains that Kelly made the drawing by means of candlelight in an army portable lodge June of '44 saw the Allied invasion of France. Kelly declines to award himself anything like the fancy-pants serviceable looks of Milton Caniff heroes of that kind as Steve Canyon. Kelly's drawing has the in-your-face pathos of the dog-face soldier buddies of Bill Mauldin, then 23 who became a cartoonist for the Army daily Stars & Stripes that same year. Kelly's Normandy image bears the gaze of weariness to death, the head disembodied, like a mask. by dint of September, Kelly was in Paris.

There are confident cerulean ink brushstrokes in Self-Portrait, Verdun of the same year. With the forward knob peculiar to the genre, Kelly direct the eyes down to drawing paper from looking up at a mirror, cheating his gaze to record what he has seen A handsome young man, the cheekbones and almost delicate oblique direction of his nose are typeed with deft passages of brush. Kelly saved this drawing more carefully, removing the spiral wire of the binding to avoid tearing the sheet. Self-Portrait with Mirror (1947) at first appears casual in its layered observations. The seated Kelly clinchs a sketchpad in his mirrored left hand, his drawing hand concealed, and stretches the couple legs toward a full-length mirror. Totally absorbed, he quiescences his right foot on the mirror's corner as notwithstanding that poised to thrust the mirror's plane into another dimension, to retain it from sliding forward, or himself from crashing end the looking glass. There are a not many objects on the floor that interrupt the diagonals struck by dint of its planking. Of further interest given the nature of Kelly's work to approach the mirror's frame strikes a manful vertical band down through the drawing, dividing the studio between the dual representations of the undiscovered and the seen.



There is an informal, reflective aspect to greatest in quantity of these drawings, like a conversation between the idea and its form. Sometimes a drawing anticipates the line of early Warhol, and there are other drawings in the evident manner of Picasso and Matisse. In 1992 an older Kelly visited St Martin in the French West Indies. He mates over the rims of his glasses, finishing the drawing with a pencil grasped in the representation of his throw backed right hand, and at that point of time the artist and his double associate at the end of a nearly complete line.

COPYRIGHT 2003 Brant Publications, Inc.

COPYRIGHT 2003 Gale Group



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