Speaking of Doylestown,
I was so immediately in love with the precisionist paintings, and the dramatic photos, that it took me a while to appreciate the late, semi-abstract barn paintings of Charles Sheeler.
It was probably the early photos from Doylestown and Bucks County that opened it up for me, and realizing that the barns were not late and out, but early and the whole point.
I mean, making a drawing like Barn Abstraction in 1917 is kind of amazing. This one, at the Philadelphia Museum, because it was owned by the Arensbergs, was literally the first work in Sheeler’s 1939 retrospective at the Museum of Modern Art. It feels like Sheeler was in his Morton Schamberg era, in a good way.
In 1918 Sheeler used the drawing as the basis for his first print, a lithograph, of which maybe ten copies exist? That’s the number MoMA uses, and it’s cited in the lot description for the example being sold tomorrow at Christie’s. It’s the first of five Sheeler prints being sold—he only made six, and they’re all low volume.
But that’s all less important than this installation photo from MoMA’s 1939 show, in which two of Sheeler’s precisionist masterpieces—Upper Deck (1929) and American Landscape (1930)—look like they’ve been reworked into a resin pour by Anicka Yi. What would Sheeler do with a painting of this photo? Is that even possible?