George Tooker : a reassessment of the artist
Date
1987
Authors
Wigmore, Jodi Ann
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Abstract
The paintings of George Tooker (1920- ) belong to a group which many consider the artistic backwash of art in America in the 1950s as a result of the concurrent critical acclaim of Abstract Expressionism. My thesis rebutes this accusation and justifies his significance as an alternative to the intellectual and critical popularity of Abstract Expressionism.
Each of the five chapters focuses on a specific problem associated with the study of art history. Tooker is discussed in the context of problems concerning identification of periods and movements, the transferral of ideas from one movement to another, and the development of an ideological conflict between the avant-garde and the traditionalists. Although this thesis does not supply the reader with an in-depth chronological survey of his work, many of Tooker's paintings are assessed in detail.
Chapter One establishes the place of the paintings of Tooker and those of his closest associates (Paul Cadmus and Jared French), both historically and stylistically, within a general framework. The work of Cadmus and French will also motivate a good deal of discussion thoughout the thesis. The problems involved with the collective grouping of artists such as Tooker into movements or periods will then be discussed.
Chapter Two examines the various forms of cultural stimulation which surrounded Tooker as a young man. Since the presence of a radical intellectual circle usually denotes an avant-garde sensibility, a comparison is drawn between Tooker, Cadmus, and French, and the work of their European contemporaries. Their affiliations and motivations then provides us with a platform upon which we may question the validity of the concept of the avant-garde in art.
Chapter Three deals with the effect of Renaissance Art on Tooker. His work is analysed according to a number of ideas which will link him conclusively with the popular Renaissance concept of Humanism. Tooker's transferral of traditional imaqes and themes into a modern context, reflecting his dedication to the past, provides substance or an examination of the use of those theories as they apply to modern art.
Chapter Four examines the Depression and its consequences and expands on the theory that all major changes are related to revolution, whether political, cultural, economic, or social. Thus, since Tooker was still a very young man in the 1930s, the contributions of Cadmus and French during the period will predominate. The Mexican Revolution is seen as the liberating factor for the deluge of socially conscious art produced in the United States in the 1930s. Art became overtly political; however, the organisation and control of culture by the American government resulted in a series of widespread conflicts.
Chapter Five deals with the development of a dichotomy between realism and abstraction, which can be traced back to the beginning of the twentieth century in the United States. Since Tooker remained dedicated to a traditional technique and philosophy, this chapter will examine doctrines and events outside of his immediate realm. The consequent popularity of the Abstract Expressionists with the critics and museums concerns us again with the idea of the avant-garde in history. Hence, the problems associated with a linear approach, whereby history is organised into convenient periods and movements, will be examined.
In conclusion, Tooker's relative obscurity will be explained as the result of political and ideological approaches.
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UN SDG 16: Peace, Justice, and Strong Institutions