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 Still life. It’s one of the best attainable genres of art, but an ambrosial exhibition currently on appearance at the Everson Museum of Art proves that sometimes there’s added to it than what meets the eye. Titled “Still Life: Revisited,” the appearance examines the access of painting on photography aural the branch of still life. The works are fatigued abundantly from the museum’s abiding collection, but photographs and paintings by added artists alfresco of the accumulating (including New Woodstock’s Daniel K. Tennant) annular out the show. There’s additionally a sampling of bowl works that accommodate different approaches to the genre. The appearance moves abundantly in archival order, alpha with still activity in its complete forms, such as Severin Roesen’s “Still Activity with Fruit” (1860-65), “Kitchen Still Life” (19th century) by an alien painter and Richard LaBarre Goodwin’s “Still Activity with Ducks” (1886), all of which abatement aural European and aboriginal American still activity traditions. But the appearance progresses from aboveboard paintings of abounding bowls of bake-apple and dangling specimens of bare adventurous to Cubist photographs that breach apples and altar into assorted perspectives or alter with the traditions of the Dutch Masters. There are additionally paintings by American actor Jonas Lie (“The Atramentous Teapot,” 1911), American modernist Milton Avery (“Objects,” 1949) and a American still activity painter Janet Fish (“Sewing,” 2000) to appearance the agency in which a painters accept connected to assignment with the genre. The best absorbing pieces are the photographs that in some way accomplish advertence to the history of still activity painting. Sharon Core’s beauteous blush photos from her “Early American” alternation blue-blooded “Still Activity with Steak and Asparagus” (2008) and “Apples in a Porcelain Basket” (2007) acquisition afflatus in the still lifes by early-American painter Raphaelle Peale (1774-1825). Considered one of the finest artists of his generation, he was a adept of the still activity brand and Core mimics Peale’s trompe l’oeil affects with a ability of her own. Additional photographers of agenda aggressive by the history of still activity include: D.W. Mellor’s arresting atramentous and white photograph blue-blooded “Erla’s Linen” (2004, printed 2008) and Paulette Tavormina’s beauteous blush photo blue-blooded “Crabs and Auto afterwards P.C” (2008) from her “Natura Morta” series. These pieces allotment altar and adumbration archetypal of 17th aeon Dutch still activity painting — a auto with a circling of bark dangling over the table’s edge, affected glassware absorption elements of the allowance and awe-inspiring linens. A assurance beneath Tavormina’s allotment speaks to the active accuracy of her angel and states in adventurous atramentous letters: Please do not touch. These are examples of a artists attractive aback through the centuries for sources of afflatus adopted from still activity traditions, which they reinterpret through beginning eyes and their own best of media. Tennant, a Syracuse-area artist, acclimated the camera as a apparatus to abuse his gouache still activity compositions and abduction cursory moments that reappear in his paintings. In his allotment blue-blooded “Things Worth Keeping” (2009), he cautiously plays with caliginosity falling on adamantine and bendable surfaces and reflections dancing on the abandon of bottle bottles. Tennant uses photography as a agency to an end, with his ultimate ambition actuality still lifes rendered in gouache and bathed in trompe l’oeil effects. This was an agreeable exhibition and the access fabricated amid a photographers and the traditions of the still activity brand were clear. However, the constant references to 17th aeon Dutch still activity would accept agitated added weight for some admirers had there been an archetype — a book, or reproduction — on the bank characterization of some of those works. Same goes for Tavormina’s reinterpretation of Peale’s assignment … an archetype of his assignment would accept gone a continued way to enhance the acknowledgment of hers.

 Katherine Rushworth, of Cazenovia, is a above administrator of the Michael C. Rockefeller Arts Center (State University College at Fredonia) and of the Central New York Institute for the Arts in Education. Reach her at [email protected]

 

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