An engaging revival of a talented, expat painter who was overshadowed by his midcentury contemporaries.
An exhibition catalog, published on the occasion of a recent retrospective at Baylor University’s Martin Museum, focuses on the three artistic periods of a forgotten American painter.
This book commemorates the centennial of Fontaine’s birth and consists of a preface and biography by the author, the artist’s youngest daughter, a foreword by Baylor University art history professor Kate Robinson Edwards, and essays on Fontaine’s career by art historians Margaret Senz and Mary Brantl and artist Robert Linsley. (Chidester notes that this year is also the 100th anniversary of the famous New York Armory Show that changed the world of modern art.) Fontaine doesn’t fit neatly into any genre, category or regional school of painters; Linsley, in his essay, refers to the painter’s work as “cosmopolitan modernism,” and in an “artist statement” written in 1949, Fontaine called his work “non-objective pictures.” “All art, just as time, is in transition,” he wrote. He tackled surrealism of the Giorgio de Chirico variety and painted WPA murals steeped in realism, regionalism and social commentary. He was born in Massachusetts of French-Canadian parents, and at the age of 8, he drew an upside-down car good enough to get him into the Worcester Art Museum School of Art. Reproductions of some of his early figure studies from the late 1930s convey his natural gift for drawing. He later earned his bachelor of fine arts at Yale University in 2 1/2 years (it normally takes takes five), and in 1941, he and his new wife, Virginia, began a long life together as expats. He followed his artistic vision wherever it took him, including Darmstadt, Germany, from 1953 to 1970, where he served as the art director for the European edition of Stars and Stripes. Chidester’s well-researched yet intimate biography relies on extensive correspondence and diaries and manages to bring her father’s long-overlooked career to life. She and her fellow essayists brilliantly demonstrate the progress and processes of the artist, who left behind an estimated 600 works in public and private hands. Many of his later, lively, abstract paintings are reproduced in eye-popping color.
An engaging revival of a talented, expat painter who was overshadowed by his midcentury contemporaries.Pub Date: June 22, 2013
ISBN: 978-0988835818
Page Count: 208
Publisher: Fontaine Archive, LLC.
Review Posted Online: Aug. 7, 2013
Kirkus Reviews Issue: Sept. 15, 2013
Review Program: Kirkus Indie
BOOK REVIEW
A short, simple, and sweet tale about two friends and a horse.
A novel tells the story of two spirited girls who set out to save a lame foal in 1952.
Mary, age 12, lacks muscle control of her legs and must use a wheelchair. Her life is constantly interrupted by trips with her widower father to assorted doctors, all of whom have failed to help her. Mary tolerates the treatments, hoping to one day walk unassisted, but her true passion involves horses. Possessing a library filled with horse books, she loves watching and drawing the animals at a neighboring farm. She longs to own one herself. But her father, overprotective due to her disability and his own lingering grief over Mary’s dead mother, makes her keep her distance. Mary befriends Laura, the emotionally neglected daughter of the wealthy neighboring farm owners, and the two share secret buggy rides. Both girls are attracted to Illusion, a beautiful red bay filly on the farm. Mary learns that Illusion is to be put down by a veterinarian because of a lame leg. Horrified, she decides to talk to the barn manager about the horse (“Isn’t it okay for her to live even if she’s not perfect? I think she deserves a chance”). Soon, Mary and Laura attempt to raise money to save Illusion. At the same time, Mary begins to gain control of her legs thanks to water therapy and secret therapeutic riding with Laura. There is indeed a great deal of poignancy in a story of a girl with a disability fighting to defend the intrinsic value of a lame animal. But this book, the first installment of the Dream Horse Adventure Series, would be twice as touching if Mary interacted with Illusion more. In the tale’s opening, she watches the foal from afar, but she actually spends very little time with the filly she tries so hard to protect. This turns out to be a strange development given the degree to which the narrative relies on her devotion. Count (Selah’s Sweet Dream, 2015) draws Mary and Laura in broad but believable strokes, defined mainly by their unrelenting pluckiness in the face of adversity. While the work tackles disability, death, and grief, Mary’s and Laura’s environments are so idyllic and their optimism and perseverance so remarkable that the story retains an aura of uncomplicated gentleness throughout.
A short, simple, and sweet tale about two friends and a horse.Pub Date: N/A
ISBN: N/A
Page Count: -
Publisher: Hastings Creations Group
Review Posted Online: Oct. 15, 2016
Review Program: Kirkus Indie
Therapeutic, moving verse from a promising new talent.
Keridan’s poetry testifies to the pain of love and loss—and to the possibility of healing in the aftermath.
The literary critic Geoffrey Hartman once wrote that literature—and poetry, in particular—can help us “read the wound” of trauma. That is, it can allow one to express and explain one’s deepest hurts when everyday language fails. Keridan appears to have a similar understanding of poetry. She writes in “Foreword,” the opening work of her debut collection, that “pain frequently uses words as an escape route / (oh, how I know).” Many words—and a great deal of pain—escape in this volume, but the result is healing: “the ending is happy / the beginning was horrific / so let’s start there.” The book, then, tracks the process of recovery in the wake of suffering, and often, this suffering is brought on by romantic relationships gone wrong. An early untitled poem opens, “I die a little / taking pieces of me to feed the fire / that keeps him warm / you don’t notice that it’s a slow death / when you’re disappearing little by little.” The author’s imagery here—of the self fueling the dying fire of love—is simultaneously subtle and wrenching. But the poem’s message, amplified elsewhere in the book, is clear: We go wrong if we destructively give ourselves over to others, and healing comes only when we turn our energies back to our own good. Later poems, therefore, reveal that self-definition often equals strength. The process is painful but salutary; when “you’re left unprotected / surrounded by chaos with nothing you / can depend on / except yourself / and that’s when you gather the pieces / of the life you lost / and use them to build the life you want.” The “life you want” is an elusive goal, and the author knows that the path to self-definition is fraught with peril—but her collection may give strength to those who walk it.
Therapeutic, moving verse from a promising new talent.Pub Date: Nov. 2, 2018
ISBN: 978-1-72770-538-6
Page Count: 196
Publisher: CreateSpace
Review Posted Online: Jan. 9, 2019
Kirkus Reviews Issue: Feb. 15, 2019
Review Program: Kirkus Indie
BOOK REVIEW
BOOK REVIEW
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