Sutton-title art-specific historically based paintings

 

The Breda type

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

Sutton-mini first whole breda

First Whole Breda

 

a86.gif, abstract ptg- blue+red, C SUTTON-mini

Blue+Red & Blue+Orange Breda

Sutton-mini-cezanne-gainsborough breda

You the Beholder (Cezanne to Gainsborough Breda)

Sutton-Soul or Sole Point of Departure

Soul or Sole Point of Departure (Cezanne to Gainsborough Breda)

Sutton-mini Manet dress flesh

Manet Dress Is As If Flesh Woman With Parrot and Velasquez No Specific Use of Violet

+ Dress Is As If Blesh Breda

echodwarf_mini.jpg

A Dwarf & A Prince Echo Figure Breda

+ 4 others in this sub-group-

Sutton-Absorption Trad. True Color with Lace Areas

(1987) Absorption Picture Traditional True Color

Breda with Lace Areas

Sutton-Tuning Fork Breda

(1987) Directly Painted Absorption or Tuning Fork Breda

 

Spirit Absorption

(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]
 
Velasques 1635, The Surrender of Breda, mid whole

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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.
 
hollow  - light center core, pastel uniforms on soldiers, and key, Velazquez
 
 
 
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
 
Sutton-mini first whole breda1.
 
(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
 
 
 
a86.gif, abstract ptg- blue+red, C SUTTON-mini2.
(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
 
 
 
Sutton-mini-cezanne-gainsborough breda3.
(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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Sutton-Soul or Sole Point of Departure4.
(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
 
Sutton-Dress Is As If Flesh Breda, mini5.
(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.
Sutton-mini-Manet-dress as flesh(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
 
 
title-sub group-dwarf & prince, SUTTON

A Dwarf & A Prince Echo Figure Breda painting by Carol Sutton[sub-group](based on Velazquez)

 

 
 
Velasquez-dwarf and prince-mini

5 canvases

Based on Velazquez's Prince Baltazar Carlos with a Dwarf, Boston Museum of Fine Art, Boston, Massachusetts

-

Sutton-studio 1986,Dwarf & Prince Breda Series , plus paper works
 
echodwarf_mini.jpg Carol Sutton-Dwarf&Prince Echo Figure Breda 1986
 
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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dwarf, prince, apple #3 by Carol Sutton, apple_breda.jpg .
 
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
____________
 
apple_left.jpg, detail of apple-Dwarf & A Prince Echo Figure With Apple #3 in
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Sutton-curtain dwarf and prince-echo10.
(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
 
 
Sutton-detail echo figure, dwarf and prince bredadetail 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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Sutton-sash dwarf and prince mini11.
(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:
 
marginalia- sketch-Carol Sutton, dwarf and prince series
 
2 paintings based on the traditional colors that Velazquez used in his Surrender of Breda or Las Lanzas
 
Sutton-Absorption Trad. True Color with Lace Areas12.
(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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Sutton-Tuning Fork Breda13.
 
(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
 
Sutton-Voice of Spirit #714.
(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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Spirit Absorption15.
(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:
 
Sutton-pair-mini-Viollet-le-Duc Visual Violet+Breda16.
(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]
 
 
 
Carol Sutton studio-Double Cave Breda17.
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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