SHIN GALLERY is pleased to present historical 19th century paintings alongside 20th century photographs by groundbreaking artists Alma Lavenson, Elisabeth Hase, James Abbott McNeill Whistler, Imogen Cunningham, Carl Vilhelm Holsøe, and Eugène Carrière. Paralleling both portraits and interiors, the exhibition aims to create a serene ambiance focusing on tonalism, pictorialism, and modernism. The exhibition title references to Whitsler’s night scenes, emphasizing the importance of tonal harmony. The gallery will hold an opening reception on Monday, December 2nd from 6-8 PM.
Above creating an accurate visual representation, the selected works showcase both harmonic and methodical compositions. A sense of stillness is employed through the use of light, shadow and subject matter. For instance, Cunningham’s exotic plants are as enigmatic as they are grounded by the contrast in light and monochromatic palette. Singular colors and tones provide an intimate atmosphere whether a portrait or still life.
The works provide a mysterious as well as a contemplative perspective based on each artists aesthetic. Nuanced tones communicate a hazy atmosphere, reinforced through the soft-focused views in the paintings and photographs. Both the diffusion and dramatic use of light with subtle color aims to create a rather self-reflective experience.
A central theme in this exhibition alludes to domestic life. Female sitters, cooking utensils and sewing supplies provide context to female identity in both the 19th and 20th centuries. From Carrière’s The Addition to Hase’s Untitled (sewing kit), the artists articulate timelessness based on their own perceptions of femininity. Whether consciously or subconsciously capturing domestic scenes or objects, each work replicates a highly personal reflection of the artists signature style.
Beyond the physical artworks, the artists presented are distinguished and renowned figures in art history. Each reinventing conventional techniques, and as a result producing unconventional works in their time. Whistler abandons the practice of Realism and gravitates towards Aestheticism, focusing on allusion and tonality. Cunningham transitions through all movements in Modern Photography, constantly evolving her practice and methods. Regardless of period or artistic prominence, the artists’ works are unified for their exceptional quality and vaguely familiar appeal.