Into Andrew Wyeth’s World Andrew Wyeth in 1983, via New York TimesĪlthough many artworks stand on their own, separate from any contextual information regarding their creators or their time, many others are framed by the stories of their masters. Even though mystery encircles her absent facial features, and you’ve wondered once or twice what she might look like, there is something else that causes a distinct feeling of tension and uneasiness: her twisted arms and crooked figure. It’s not necessarily that she’s lying on the ground, nor the absence of her face. It’s not her clothing her long soft pink dress and grey shoes perfectly juxtapose the cool tones of her surroundings. Yet as domineering as the landscape is, the form of the faceless woman immediately captivates you and keeps you tethered with feelings of uncertainty. Thanks to Wyeth’s masterful hand, you can see each meticulously painted blade of grass you can feel the slight breeze running through the field and smell the faint essence of grass. The scenery is captivating and powerful in its stillness and quietness. Around the property stand other shabby structures while a dirty car track cuts through the dry yellow field. She stares behind her towards a large grey wooden farmhouse surrounded by a plain fence. Christina’s World: The Composition Christina’s World by Andrew Wyeth, 1948, via Museum of Modern Art, New YorkĪ young woman lies crookedly on a field of dry grass.
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