- SINGLE WORKS ABOVE, 15 large paintings
- + 2 others, A PAIR AND THE ONLY
DOUBLE BREDA ARE BELOW:
- for a total of 17 paintings in
all
-
- [note: a few more of this type were done at the
- Barcelona Triangle Workshop, 1987, Barcelona, Spain,
- for example, Green Goya (1987)]
16.
(1986) pair of paintings photographed in the 27 Davies Avenue,
Toronto, Ontario, Canada, in the studio of the artist
Viollet-le-Duc Visual Violet
(B) (on left) & Viollet-le-Duc Breda to Eye (A) (on right)
December 2, 1986,
both size 89 inches by 98 inches, Golden Acrylic on
Canvas
Physical Materials:
Golden Acrylic, including high load or colored gessos and full-body color,
Source Materials: Based
on Viollet-le-Duc's light study of stain glass
- Provenance: shown in Gallery One exhibition
of Linear Breda Paintings, September 19 to October 7, 1987
- "Recent Paintings & New Collages", Gallery One,
Toronto, Ontario, Canada,
- Current Collection: of the artist
- Web provenance: Centre for Contemporary Canadian Art
at: http://www.ccca.ca
- credit: scan by William Kirby
-
-
- mini: As If (Matisse to black Frank Stella Breda),
- 100" x 88", or 254cm by 223.5cm, painted Tueday
October, 7, 1986.
-
17.
Double Cave Breda [with artist
Carol Sutton in her studio]
date: 1987
size: 89 inches by over 144 inches,
Physical Materials:
Golden Acrylic, including high load or colored gessos and full-body color,
painted on Canvas and Black Velvet cloth in the area of the dark
cave.
Source Materials: Based
on Velazquez's 'Surrender of Breda', and other inspirational cave paintings.At
that time I was looking at those cave paintings by Gustave Courbet, reading
the Courbet book by Michael Fried, and I had just seen, [between January
30, 1987 to March 29, 1987] The Art Gallery of Ontario show of artwork by
Alexander and John Robert Cozens. Gustave Courbet's cave paintings: (figure
80} 'Source of the Loue', 1863, {figure 81}, 'Source of the Loue',
1864, and 'The Source', (with female figure) of 1868 {figure 67};
all figured into influence of my work. Quote from Fried: chapter titled
'Courbet's "Femininity", page 213 and 214, "But once we recognize
that what finally is at stake inall these works isn't simply a fasciantion
wtih a central dark vaginal-like opening or womblike enclosure but rather
a double movement into and out from the painting, the strictly morphological
resemblance between, for example, the Zurich and Buffalo versions of the
Soruce of the Loue on the one hand and the Nude
with White Stockings or The Origin of the World
on the other comes to seem, while not exactly irrelevant, at any rate
not quite the key to the meaning of either." has a footnote #45.
'The Poetry of Landscape',
John Roberts, British born in 1752 and died in 1797, was the son of Alexander
Cozens, born in 1717 and died in England in 1746. and purchased the exhibition
book written by Kim Sloan . Particular influencial was 'Cavern in the
Campana', which has not one, but two caves, the light one on the left,
as it is viewed by the tiny figures standing just inside the entrance yet
looking both out of giant chasm and also looking inward into the gloomy
dark and inky black depth of a cave on the right. [1778, pencil and watercolour,
45.1 x 60.9cm. Victoria and Albert Museum, London, England [ill. #148 and
ill.#150, size 37.5 x 50.8cm at Birmingham Museum and Art Gallery].It is
really a cave painting in which the viewer is just inside, one exit leads
to a flood of external light, but with that arena is the entrance to an
even darker secondary cave.
- book: Courbet's Realism
- author: Michael Fried
- published by: 1986,The Universtity of Chicago Press
- ISBN - 0-226-26214-6
-
-
- book: Alexander and John Robert Cozens. 'The Poetry
of Landscape'
- author: Kim Sloan
- published by: 1986,Yale Universty Press, New Haven and
London, printed in London
- ISBN - 0-300-03855-0
-
- Provenance: Collection: of the artist, rolled in studio, never exhibited
to public
- Web provenance: none prior to publication on http://www.carolsutton.net
- credit: scan by Dale Clark of Orange Cap
-
- Source:
- All of these Sutton paintings are inspired by the
single historical painting
- by Diego Velazquez [1599-1660]
-
_________________________
-
- Velazquez, Diego
- The Surrender of Breda or Las Lanzas
- Before 1635
- Oil on canvas
- 10' 7/8" x 12' 1/2" (307 x 367 cm)
- Museo del Prado, Madrid
-
-
- Take a good look at the 'hollow center core' between
the two generals. This area is known as Velazquez's 'hollow center', or
open mid center area. This may have been an original compositional idea
by Velasquez. It is this light
- open area surrounded by darkness that was the inspiration
for my 'Breda' series of paintings.
-
-
-
-
- below is a LIST OF THE BREDA PAINTINGS-
-
- LIST : Specific Historically Based Breda Paintings:
numbering 17 in all + adjunctive paper works
-
- NOTE: NUMBER SYSTEM IS NOT IN CHRONOLOGICAL ORDER, RATHER AN AESTHETIC
ORDER
-
1.
-
- (1986)
First Whole Breda
- [#14 large painting made that year]
- July 28th and finished on July 30th of 1986, 80.5" x 106"
or 204.4 cm by 269.2 cm,
- Materials: Golden Acrylic on cotton canvas
- Notes: Painted while artist was in attendance at Triangle
Artist Workshop, Pine Plains, New York State
- Source: of the Blue+Orange color combination was that Blue and Orange
were my high school colors of Granby High School,
Norfolk, Virginia, U.S.A.
- Provenance: shown in closing day exhibition of Triangle, Collection:
of the artist
- Web provenance: none prior to publication on http://www.carolsutton.net
- credit: scan by Dale Clark of Orange Cap
-
-
-
2.
- (1986) Blue+Red & Blue+Orange Breda
- July 20th of 1986, 101" x 90" or 256.5 cm by 228.6 cm,
- Materials: Golden Acrylic on cotton canvas
- Painted while artist was in attendance at Triangle Artist Workshop,
Pine Plains, New York State
- Source: of the Blue+Orange color combination was that Blue and Orange
were my high school colors of Granby High School,
Norfolk, Virginia, U.S.A.
- Note: horizontal throw of the central strips in this work and not the
more usual vertical strips.
- Provenance: shown in closing day exhibition of Triangle,
- Current Collection: of the artist
- Web provenance: Ruben Salazar Library at http://libweb.sonoma.edu
- Blue + Red &
Blue + Orange image and one other 'Veronese' are online within the Ruben
Salazar Library (Ruben Salazar 1929 to 1970)
- http://libweb.sonoma.edu
- Sonoma State University, Rohnert Park, California, 94928
- credit: scan by Ruben Salazar Library
-
-
-
-
3.
- (1986)
You the Beholder (Cezanne to Gainsborough
Breda)
- Painted after Triangle Artist Workshop in Toronto, Ontario,
Canada,
- September 23, 1986,
- 89.5 inches by 95 inches, or 227.3 cm by 241.3 cm,
- Inventory #86/09/23A
- Materials: Golden Acrylic on cotton canvas
- Note: vertical throw of the central strips in this work unlike the
horizontal of #86/09/23B
- Source: Cezanne represented by his love and often used earth tone palette
of brown, green, and blue. Not any particular Cezanne painting. Gainsborough
represented by the bright white edging lines and the blue and white strips
as used in his painting titled Miss Siddons.
- Thomas Gainsborough. Mrs. Sarah Siddons. 1785. Oil on canvas. National
Gallery, London, England, United Kingdom
- Provenance: shown in closing day exhibition of same, Collection: of
the artist
- Web provenance: Centre for Contemporary Canadian Art,credit: scan by William Kirby , at: http://www.ccca.ca
-
- _________________________
-
-
4.
- (1986) Soul or Sole Point of Departure (Cezanne
to Gainsborough Breda)
- Painted after Triangle Artist Workshop in Toronto, Ontario,
Canada,
- September 23, 1986,
- 101 inches by 90 inches, or 256.5 cm by 228.6 cm,
- Inventory #86/09/23B
- Materials: Golden Acrylic on cotton canvas
- Note: horizontal throw of the central strips in this work and not the
more usual vertical strips.
- Source: Cezanne represented by his love and often used earth tone palette
of brown, green, and blue. Not any particular Cezanne painting. Gainsborough
represented by the bright white edging lines and the blue and white strips
as used in his painting titled Miss Siddons.
- Thomas Gainsborough. Mrs. Sarah Siddons. 1785. Oil on canvas. National
Gallery, London, England, United Kingdom
- Provenance: shown in closing day exhibition of same, Collection: of
the artist
- Web provenance: none prior to publication on http://www.carolsutton.net
- credit: scan by Dale Clark of Orange Cap
-
- _________________________
-
-
- With 3 paintings made on extended-edge paper at the same time:
-
- (1986) Cezanne to Gainsborough Breda
- September 23, 1986, 32.5 inches by 36 inches, or 82.5 cm by 91.4 cm,
- Inventory #, 86/09/23 to 26A
- Materials: Golden Acrylic on extended-edge Stonehenge 100% rag paper
- Provenance: Collection: David Leibow of Toronto, Ontario, Canada
- Web provenance: Centre for Contemporary Canadian Art
at: http://www.ccca.ca
- credit: scan by William Kirby
-
- _________________________
-
- (1986) Blue+Green of Cezanne to Gainsborough Blue+White Stripes
Breda
- September 23, 1986, 33 inches by 35 inches, or 83.8 cm by 86.9 cm,
- Inventory #, 86/09/23 to 26B
- Materials: Golden Acrylic on extended-edge Stonehenge 100% rag paper
- Provenance: Collection: of artist, marked on verso: "Carol's choice"
- Web provenance: http://www.carolsutton.net
- _________________________
-
- (1986) Cezanne to Gainsborough Breda with bronze+dots
- September 23, 1986, 41 inches by 33 1/4 inches, or 107.3 cm by 84.4
cm,
- Inventory #, 86/09/23 to 26C
- Materials: Golden Acrylic on extended-edge Stonehenge 100% rag paper
- Provenance: Collection: David Leibow of Toronto, Ontario, Canada
- Web provenance: none
- _________________________
-
-
- The only pair of paintings and the only giant double breda one:
-
- 16.
- (1986) pair of paintings
- Viollet-le-Duc Breda to Eye (A)&
- Viollet-le-Duc Visual Violet (B)
- December 2, 1986, both size 89 inches by 98 inches,
- Materials: Golden Acrylic on cotton canvas
- Source: Based on Viollet-le-Duc light study of stain glass
- Provenance: Collection: of the artist
- Web provenance: http://www.carolsutton.net
- Web provenance: Centre for Contemporary Canadian Art
at: http://www.ccca.ca
- credit: scan by William Kirby
-
- [see above mini illustration]
-
- 17.
- Double Cave Breda [with artist Carol Sutton in her studio]
- date painted: April 23, 1986,
- size: 89 inches by 198 inches,
- Materials: Golden Acrylic on cotton canvas and Black Velvet
cloth in the area of the dark cave.
- Source: Based on Velazquez's Surrender of Breda, and
other inspirational cave paintings.At that time I was looking at those
cave paintings by Gustave Courbet, and I had just seen The Art Gallery
of Ontario show of artwork by John Robert Cozens, son of Alexander Cozens
and purchased the exhibition book.
- Provenance: Collection: of the artist
- Web provenance: none prior to publication on http://www.carolsutton.net
- credit: scan by Dale Clark of Orange Cap
- [see above mini illustration]
-
-
-
- 2 paintings based on the idea of dress as
flesh from Velazquez and Manet
-
5.
- (1986) Dress Is As If Flesh
Breda
- December 3, 1986,
- Size: 89" x99",226cm by 225.4 cm,
- Materials: Golden Acrylic on cotton canvas
- Source: Based on Velazquez's Infanta Margarita, of
1653, at Kunst Museum, Vienna, Austria
- Provenance: Collection: of the artist
- Web provenance: none prior to publication on http://www.carolsutton.net
- credit: scan by Dale Clark of Orange Cap
-
-
-
- _________________________
-
-
-
- 6.
(1986) Manet Dress
Is As If Flesh Woman With Parrot and Velasquez No Specific Use of Violet
- December 6 to 9, 1986,
- Size: 227.3 cm by 22.6 cm,
- Materials: Golden Acrylic on cotton canvas
- Source: Based again of a multisource: Manet's painting titled: Woman with a Parrot and on Velazquez's use of violet,
with no specific use of violet in my mind, but in particular I was thinking
of the violet purple sash in the painting St. John the
Baptist. Artist
notes: I am particularly please the the pink peignoir quality of the center
'figure' which reads as all the more corporeal for having a shadow, almost
as if you could reach out and embrace this figure; put your arm around
her; but alas it is just a pink/peach blob of paint representing the place
of the the figure if there had been one there to see. To me I achieved
this 'figure' of a woman - as a complete abstract force - yet unseen -
both figure corporeal and her shadow. Yet for all of this, she still remains
an unseen woman. The peeled orange wastings in the lower left are echoed
by the little crusty bits of comparatively worthless seed husk fallen to
the floor [in this reality they are the crusty paint bits] under the parrot
perch also seems quite actual. I also think that Manet was able to achieve
the correct balance of grey-brown (taupe) 'unused' space in proportion
to his figures within his paintings, he never exaggerates this silent space
into a vast hall of space such as that which one might find in some Rembrandt
van Rijn's works. Still Manet could look to the past for this soft zone
in Velazquez. [ I quote an excerpt from page 333, chapter- "Manet
in His Generation", Michael Fried."aspatial backgrounds (adapted
from Velasquez's Pablo de Vallodolid), gave him only limited
opportunity to develop formal equivalents for the internal tension between
stillness and rapidity"- Read this for a complex study of Manet's
oeuvre of single-figure paintings and their space, stillness and rapidity,
including Woman with a Parrot. {C.L.S.-October 13, 2000}
- book: Manet's Modernism, or The Face of Painting in the
1860's
- author: Michael Fried
- published by: 1996,The Universtity of Chicago Press
- ISBN - 0-226-26216-2
-
- Provenance: Collection: of the artist
- Web provenance #1: Centre for Contemporary Canadian
Art at: http://www.ccca.ca
- credit: scan by William Kirby
- Web provenance #2: http://www.carolsutton.net
-
-
-
A Dwarf & A Prince Echo Figure Breda
painting by Carol Sutton[sub-group](based on Velazquez)
-
-
 |
5 canvases
Based on Velazquez's Prince Baltazar Carlos with a
Dwarf, Boston Museum of Fine Art, Boston, Massachusetts
-
|
 |
-
-
- 7.
- (1986)
A Dwarf & A Prince Echo Figure Breda
- December 9, 10, 11, 1986, 88 1/2 " by 101 1/2" inches,
- Materials: Golden Acrylic on cotton canvas
-
- Provenance: Collection: of the artist
- Web provenance: http://www.carolsutton.net
- Web provenance: Centre for Contemporary Canadian Art
at: http://www.ccca.ca
- credit: scan by William Kirby
- file; SUT067mini.jpg
-
- _________________________
-
- 8.
- (1989) Prince Baltazar Carolos with A Dwarf Echo Figures With A
Feather #2 [has feather motif ]
- (feather curtain flying at the top and apple motif )
- June 29, 1989, 88" by 100" inches,
- Materials: Golden Acrylic on cotton canvas
- Based on Velazquez's Prince Baltasar Carlos with a Dwarf,
Boston Museum of Fine Art, Boston, Massachusetts
- (not illustrated)
- Provenance: Collection: of the artist
- Web provenance: none
-
- _________________________
-
-
- 9.(1989) A Dwarf & A Prince Echo Figure
With Apple #3 [has apple motif on lower right side]
-
- July, 11, 1989, 89" by 99" inches,
- Materials: Golden Acrylic on cotton canvas
- Based on Velazquez's Prince Baltasar Carlos with a Dwarf,
Boston Museum of Fine Art, Boston, Massachusetts
- Provenance: Collection: of the artist
- Web provenance: none prior to publication on http://www.carolsutton.net
- credit: scan by Dale Clark of Orange Cap
- file: apple_breda.jpg
- ____________
-
- _________________________
-
10.
- (1989) A Prince & A Dwarf Echo Figure Breda #4 [has curtain
motif that billows in sky across the top, + red ball to left lower
side]
- (apron curtain flying at the top, apple in lower right)
- July, 11, 1989, 88 1/2" by 106 1/2" inches, or 224.8cm x
270.5cm,
-
- Materials: Golden Acrylic on cotton canvas
-
- Source: Based on Velazquez's Prince Baltasar Carlos with
a Dwarf, Boston Museum of Fine Art, Boston, Massachusetts
-
- Provenance: Collection: of the artist
- Web provenance: none prior to publication on http://www.carolsutton.net
- credit: scan of whole work on the left, by Dale Clark of Orange
Cap
-
-
detail of lower right apple motif ,from #4
- Web provenance of small detail on right: Centre for Contemporary
Canadian Art at: http://www.ccca.ca
- credit: scan by William Kirby
-
-
-
- _________________________
-
-
11.
- (1989) A Dwarf & A Prince with Velazquez #5 [has red sash motif
that cuts diagonally left to right across the center]
- (curtain cuts diagonally across center)
- June, 30, 1989 to July 18, 1989
- , 88" by 99" inches or 7 feet 4 inches x 7 feet 11 inches,
- Materials: Golden Acrylic on cotton canvas
- Based on Velazquez's Prince Baltasar Carlos with a Dwarf,
Boston Museum of Fine Art, Boston, Massachusetts
- Provenance: Collection: of the artist
- Web provenance: none prior to publication on http://www.carolsutton.net
- credit: scan by Dale Clark of Orange Cap a
-
- _________________________
-
- Marginalia-
- first sketch of above {A Dwarf & A Prince with Velazquez #5
[has
red sash motif that cuts diagonally left to right across the center]}
- on the lower page book
edge:
-
-
-
- 2 paintings based on the traditional colors
that Velazquez used in his Surrender of Breda or Las Lanzas
-
12.
- (1987)
Absorption Picture Traditional True Color Breda with Lace Areas
- January 13, 1987, 89 " by 109 1/2" inches or 226.1 cm by
278.1 cm,
- Materials: Golden Acrylic on cotton canvas
- Inventory # 87/01/13
- Source: Based on Velazquez's The Surrender of
Breda, date 1634 to 1635, Museo de Prado, Madrid, Spain
- Provenance: Collection: of the artist
- Web provenance: none prior to publication on http://www.carolsutton.net
- credit: scan by Dale Clark of Orange Cap
-
-
-
- _________________________
-
13.
-
- (1987)
Directly Painting Absorption or Tuning Fork Breda (second
whole Surrender of Breda #2)
- January 20, 1987, (#4) [4th painting made that year] 89 " by 101"
inches ,
- Materials: Golden Acrylic on cotton canvas
- Inventory # 87/01/20
- Source: Based on Velazquez's The Surrender of
Breda, date 1634 to 1635, Museo de Prado, Madrid, Spain
- Provenance: Collection: of the artist
- Web provenance: none prior to publication on http://www.carolsutton.net
- credit: scan by Dale Clark of Orange Cap
-
-
-
-
-
-
-
-
-
-
- 2 paintings based on music
-
14.
- (1987) Voice of Spirit in Absorbed State
- (#7)- (Voice of Earnest Lough boy soprano & George T. Ball,
organ, 1927 & vase from Belgium)
- February 3 1987, #7[7th[ painting made that year] 89 1/2 " by
108 1/2" inches or 226.1 cm by 278.1 cm,
- Materials: Golden Acrylic on cotton canvas
- Inventory # 87/02/03
- Source: boy Soprano Ernest Lough & George T. Ball on organ,
1927, and the colors found in the Belgium vase
- Provenance: Collection of the artist in her studio, rolled, Toronto,
Ontario, Canada,
- Web provenance: none prior to publication on http://www.carolsutton.net
- credit: scan by Dale Clark of Orange Cap
-
- _________________________
-
-
15.
- (1987)
Spirit Absorption
- (#8) -, (Voice of Earnest Lough boy soprano 1927 &
vase from Belgium)
- February 3 1987, #8 [8th] [ painting made that year] 89 1/2 "
by 108 1/2" inches or 226.1 cm by 278.1 cm,
- Materials: Golden Acrylic on cotton canvas
- Inventory # 87/02/03
- Source: boy Soprano Ernest Lough & George T. Ball on organ,
1927, and the colors found in the Belgium vase
- Provenance: Public Exhibition: 1990 "A Spanner in The Works
, Ethos and Spirituality in Abstract Painting",
- Terrance Sulymko Fine Art and Oakham House at Ryerson College,
Toronto, Ontario, Canada, November 15 to November 30
-
- Provenance: Collection of the artist in her studio,stretched and framed
and now folded in half, Toronto, Ontario, Canada, Image printed on exhibition
card for same exhibit.
- Web provenance: http://www.carolsutton.net, scan by Carol Sutton
-
-
or take me to the
Breda lead in page
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