Elke Sommer Celebrity Artist

Celebrity painters seldom amount to much.Red Skelton, Ronnie Wood, Sly Stallone, Miles Davis...even Tony Bennett. All great, but snubbed by the insular real art world. They painted when they should have performed. But we make an exception for Elke Sommer.  Why?  Because the art world treats women artists like crap.Sexism abounds. Painting is STILL seen as a hard ham-fisted manly activity.Think Jackson Pollock grunting over a floor-sized abstract, or Julian Schnabel bossing the city of New York into allowing his rooftop to exceed New York City limits. It helps if you are a troubled genius who drinks too much too. Well, Elke is neither of those, as far as I know..AND her paintings are FOR SALE HERE  I think. Most seem sold, but I didn't click through too many. Give Elke Sommer some major love. Buy a Painting!

Justin McCarthy Art Drawing of Wilt Chamberlain 1960

Justin McCarthy Art Drawing of Wilt Chamberlain 1960 Collection Jim Linderman
See Also HERE

THE American Painter Justin McCarthy Annual I am not at the Outsider Art Fair Paris 2016 post

 

Justin McCarthy untitled Collection Jim Linderman

Justin McCarthy Nude circa 1965 Collection Jim Linderman

 

Justin McCarthy "The Last Supper" private collection Slotin Folk Art Auction

 

Justin McCarthy "Yankees Stadium" Private Collection

Justin McCarthy "Goodyear Blimp" Private Collection

"He didn't know he was painting quirky.  He thought he was painting straight."  So said Justin McCarthy's major benefactor the painter Sterling Strauser.  "People often found it difficult to believe that he was a self-taught naïve, because…some of his things look like Emil Nolde, some look like Milton Avery – people that he was not aware of at all. They look like Ernst Kirchner. Some of his watercolors look like Demuth. This is all purely accidental.”  Nancy Green Karlins (who wrote her PHD dissertation on McCarthy) writes: “McCarthy’s intense line, non-naturalistic color and exaggerated drawing are more characteristic of German Expressionism than of most eighteenth-and nineteenth-century American folk art…"

Art scholars have to explain the work of Justin McCarthy by placing him in context with other better known (and better trained) artists.  How else to discuss him?  There IS no appropriate context.  A little of this, a little of that, but really all one of a kind.  Once you have seen a few of his works, you will recognize them but you might not understand them.  Sterling Strauser (actually his wife Dorothy) saw them first sprawled on the grass in a Pennsylvania Town Square.  He recalled thinking how much he would like to see one of them in a frame.  They were priced high, as McCarthy knew he wasn't going to sell any, so why not?   He was a completely self-taught naive recluse who lived most of his long life in a depreciating mansion in Weatherly, PA. 

That is, when he wasn't in a mental institution. Sterling Strauser once told me "McCarthy cured himself through painting." Certainly he had the persistence and gumption to do it.  Evidence of his earliest work here shows it.

The earliest dates to 1915, while he was confined.  A primitive form only, in crayon, from a rudimentary sketchbook he created by gluing individual pages of drawings onto those already in a printed book.  "A Gibson Girl" is a purple shadow showing little or none of his promise.  It wasn't long until he progressed to the formal "Miss Moran" shown following from Galerie Bonheur.

Justin McCarthy "A Gibson Girl from the Follies" circa 1915 - 1920 Collection Jim Linderman

Justin McCarthy "Miss Moran" circa 1920 Galerie Bonheur

 

Justin McCarthy Private Collection

McCarthy came a wealthy family, but one with tragedy.  His father and brother died early and the young man's breakdown followed.  He tried to follow in his father's footsteps.  He tried law school but failed. There was some work over the years, including some time in the Pennsylvania Steel yards which resulted in a spectacular painting full of heat and smoke. 

Justin McCarthy Bethlehem Steel Private Collection

His brother was favored growing up and young Justin was shy. One pleasant and persistent memory had to have been the visit he had to the Louvre in Paris.  Only the wealthy could afford a trip to Paris at that time, and they went.  He was apparently left alone in the museum, and it stuck.

As his early, primitive institutionalized drawings developed he signed them with pseudonyms but often didn't sign them at all.  
After some five years, he was allowed back home to the mansion his father had owned and remained there most of his life.  During this time(though no one but his mother had seen the work) he filled the house with astounding vibrant quick explosions of color. He was a prolific and fearless artist. The Great American artist. Nothing escaped his eye and he would paint anything. Eventually even the unused stove and the bathtub were filled with paintings.  Strauser describes piles of work in every room.

Justin McCarthy Private Collection

Justin McCarthy Private Collection

Justin McCarthy Private Collection

Justin McCarthy Private Collection

They are both absurd and beautiful. Sports figures drawn while watching television and filled with color later. Some from life but imbued with his own.The pages of National Geographic Magazine. Some remembered from the early motion picture projector his wealthy father had at the mansion.  Gallerist and curator Randall Morris once described McCarthy as having a "cinematic style" which may have developed as he was a young boy watching flickering images.  His quick "wet on wet" working technique may have been an attempt to capture them. It was a practice he continued his entire artistic life. I believe he succeeded. 

A range of works drawn from the web give some indication to his unusual style and complete mastery of color.  The artist created work from 1915 up to his death in 1977.
 
See Also:   
Gene Epstein "What Kind of Art is This?" Folk Art Magazine Winter 1992 Pages 51

American Folk Art Museum McCarthy collection
 
Nancy Green Karlins "Justin McCarthy" 1891-1977 The Making of a 20th Century Self Taught Painter Dissertation Ph. D. New York University 1986

Randall Morris "The Cinematic "I" : Justin McCarthy 1984 Noyes Museum

Early sketchbooks and memories of Sterling Strauser are in the collection of the Archives of American Art Smithsonian Museum of Art 

See also two books on Folk art Outsider art by the writer Jim Linderman HERE and HERE.
A few other posts in my unstructured and informal Outsider Art series are shown HERE and HERE and HERE and HERE and HERE and HERE   More or less.  Additional works by Basil Merrett are HERE.

Folk Art Drawing by Elizabeth Stohn Newburgh, NY 1918

Any information on the young artist Elizabeth Stohn of Newburgh, New York who was producing art from at least 1917 to 1922 or so would be much appreciated.  Anyone?  Leave comment for follow-up.  Thank you!

The Famous Painting of Professor Woodruff AKA Nude Lady Held Up in the Lake (September Morn)

The Hold Up, Professor Woodruff's masterpiece.  Speculating here, I am going to guess Woodruff painted his dream, or a vision, or an obsession.  I hope it was not painted from life, as it appears to show a man holding a gun on a nude woman, And Woodruff seems pretty darn proud of himself.  I have checked the inventories of some lauded institutions with no luck.  Does anyone out there know where Woodruff's rough masterpiece ended up?
(Just for the record, see the link HERE)

Real Photo Postcard circa 1915 collection Jim Linderman

BOOKS AND EBOOKS BY JIM LINDERMAN (MORE COMING)  
ARE AVAILABLE HERE

Mary Gibney Artist and Collector Mugshots and the Library

One of the tenents of librarianship is privacy. It's why I love librarians...you can ask them ANYTHING and they won't spill the beans. Privacy, the right which we have almost given away for free (witness the growth of Facebook, where one is asked to indicate their "status" on a minute by minute basis for advertisers and anyone else, including divorce lawyers, to plunder). Trust me, all those status updates will come back and chew you a new one someday.

Librarians used to only very, very reluctantly give up circulation records to the feds, even Oswald's! But today folks willingly click "I am reading so and so" instead of keeping their knowledge quests private. For librarians, a noble profession with noble rules, intellectual freedom was paramount.

For decades the only bugaboo in the library privacy record was the checkout card. Anyone could see who else read the book, or at least carried it home. My mother, herself a junior high librarian in her day, used to say every book she checked out had my name on the card. He said modestly. Eh...there were no books about Marxism in the junior high anyway, I found those in high school. Today, I am trying hard to fill my kindle so I can justify buying the new one.

These lovely relics come to me from artist Mary Gibney, and they come with a good story. I received an email from Mary about my recent post of mug shots. It is always nice to receive notes with comments and such, but this one was different. It came from an artist who PAINTS mug shots! I can get behind that...how many cool ideas are left, after all? Mary Gibney found one, and she is doing a good job with it.

Ms. Gibney and I exchanged a few pleasantries, and that she had this collection of library checkout cards came up...so I finagled a few for the blog. They are lovely and odd, and I can't thank Mary enough for sharing. She also has an overdue notice for Victorian potboiler "The Magnificent Ambersons" which is surprising as the filmed version is so, so much better. At least the first three minutes of it. (Seriously!) Why anyone would struggle with the book when an Orson Welles masterpiece is available is beyond me.

I have also cribbed a handful of Gibney's splendid mug shot work. She really deserves a post of her own here, and one day I hope to.


Gibney has a long exhibition history HERE and seems to be doing quite well selling her work. As you can see, the mugshots are done of both celebs and regular mugs, and she has also done a series of works based on the faces shot by Weegee. Gibney is a Minneapolis artist, cyclist, library worker (ah HA!) and collector of odd objects, scraps and castoffs. As becomes an artist, she has a statement.

"I rely on intuition, mixing up, shapely objects, found bits and ephemera, the arcane and the obsolete, mistakes and fortunate convergences. I am fascinated by mugshots, anonymous faces and abandoned photos which I use to make portraits of unknown people. Other inspirations are maps, children's encyclopedia illustrations, paint color chips, sideshow art and theatrical illusions, old toys and unnecessary objects, handwritten signs, ads from old Popular Mechanics and Ladies Home Journals and mid-20th century illustrations of the wonderful future."





Mary Gibney Website HERE



Vintage Library Circulation Cards collection Mary Gibney Paintings by Mary Gibney Private Collections

Jim Linderman books and Ebooks HERE
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Mouth Painters (?) and the Association of Mouth and Foot Painting Artists

Who would think there is an organization called "The Mouth and Foot Painting Artists" and that they operate their own website? I guess as a former researcher familiar with the Encyclopedia of Associations, nothing should surprise me anymore. Two talented artists who would certainly meet the membership standards are represented by my modest collection. The first, painter of the postcard here with a floating lilly pad rendered in oil and water, is the astounding Nyla Thompson. Note this is an original painting, not a reproduction, though I have read some were reproduced as standard postcards. She obviously painted the title as well. There are hundreds of dots which outline the petals...Nyla leaned forward many, many times to complete this painting. The second artist is Grace Layton, shown in a 1952 photograph by Warner Clapp.


Original hand (whoops...) MOUTH painted postcard, c. 1955 and Original Press Photo, 1952
Collection Jim Linderman