The Breda type

of Specific Historically Based Paintings© by Carol Sutton - 15 large paintings +2 giant paintings

First Whole Breda	Blue+Red & Blue+Orange Breda	You the Beholder (Cezanne to Gainsborough Breda)
Soul or Sole Point of Departure (Cezanne to Gainsborough Breda)	Manet Dress Is As If Flesh Woman With Parrot and Velasquez No Specific Use of Violet + Dress Is As If Blesh Breda	A Dwarf & A Prince Echo Figure Breda + 4 others in this sub-group-
(1987) Absorption Picture Traditional True Color Breda with Lace Areas	(1987) Directly Painted Absorption or Tuning Fork Breda	(1987) Spirit Absorption +(1987) Voice of Spirit in Absorbed State

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)]

 

Source:

All of these Sutton paintings are inspired by the single historical painting

by Diego Velazquez [1599-1660]

 

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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

 

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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

 

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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

 

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(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

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(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

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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

 

 

 

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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

 

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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

 

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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

____________

 

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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

 

 

 

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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

 

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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

 

 

 

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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

 

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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

 

 

 

 

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,

 

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

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