Andrew Newell Wyeth (ˈwaɪ.ɛθwy-eth;[1] July 12, 1917 – January 16, 2009) was a visual artist, primarily a realist painter, working predominantly in a regionalist style. He was one of the best-known U.S. artists of the middle 20th century.

In his art, Wyeth's favorite subjects were the land and people around him, both in his hometown of Chadds Ford, Pennsylvania, and at his summer home in Cushing, Maine. One of the best-known images in 20th-century American art is his painting, Christina's World, currently in the collection of the Museum of Modern Art in New York City.

Andrew Wyeth was the youngest of the five children of illustrator and artist N.C. (Newell Convers) Wyeth and his wife, Carolyn Bockius Wyeth. He was born July 12, 1917 on Henry Thoreau's 100th birthday. Due to N.C.'s fond appreciation of Henry Thoreau, he found this both coincidental and exciting. N.C. was an attentive father, fostering each of the children's interests and talents. The family was close, spending time reading together, taking walks, fostering a closeness with nature and developing a feeling for Wyeth family history.[2]

Andrew was home-tutored because of his frail health. Like his father, the young Wyeth read and appreciated the poetry of Robert Frost and writings of Henry Thoreau and studied their relationships with nature. Music and movies also heightened his artistic sensitivity.[3]

One major influence, discussed at length by Wyeth himself was King Vidor's The Big Parade.[4][5] He claims to have seen the film which depicted family dynamics similar to his own, a hundred-and-eighty-times and believes it had the greatest influence on his work. The film's director Vidor later made a documentary, Metaphor where he and Wyeth discuss the influence of the film on his paintings, including Winter 1946, Snow Flurries, Portrait of Ralph Kline and Afternoon Flight of a Boy up a Tree.[4][6]

Wyeth's father was the only teacher that he had. Due to being schooled at home, he led both a sheltered life and one that was obsessively focused. Wyeth recalled of that time Pa kept me almost in a jail, just kept me to himself in my own world, and he wouldn’t let anyone in on it. I was almost made to stay in Robin Hood's Sherwood Forest with Maid Marion and the rebels.[7]

In the 1920s Wyeth's father had become a celebrity and the family often had celebrities as guests, such as F. Scott Fitzgerald and Mary Pickford. The home bustled with creative activity and competition.[7] N.C. and Carolyn's five children were all talented. Henriette Wyeth Hurd, the eldest, became a well-known painter of portraits and still lifes. Carolyn, the second child, was also a painter. Nathaniel Wyeth the third child a successful inventor. Ann, was a musician at a young age, then became a composer as an adult. Andrew was the youngest child.[2]

N.C. Wyeth's guidance
Wyeth started drawing at a young age. He was a draftsman before he could read.[7] By the time he was a teenager, his father brought him into his studio for the only art lessons he ever had. N.C. inspired his son's love of rural landscapes, sense of romance and artistic traditions.[2] Although creating illustrations was not a passion he wished to pursue, Wyeth produced illustrations under his father's name while in his teens.[7]

With his father’s guidance, he mastered figure study and watercolor, and later learned egg tempera from his brother-in-law Peter Hurd. He studied art history on his own, admiring many masters of Renaissance and American painting, especially Winslow Homer.[3]

N.C. also fostered an inner self-confidence to follow one's own talents without thought of how the work is received. N.C. wrote in a letter to Wyeth in 1944[8]

The great men [ Thoreau, Goethe, Emerson, Tolstoy] forever radiate a sharp sense of that profound requirement of an artist, to fully understand that consequences of what he creates are unimportant. Let the motive for action be in the action itself and not in the event. I know from my own experience that when I create with any degree of strength and beauty I have no thought of consequences. Anyone who creates for effect — to score a hit — does not know what he is missing!

In the same letter N.C. correlates being a great man with being a great painter To be a great artist, he described, requires emotional depth, an openness, to look beyond self to the subject, and passion. A great painting then is one that enriches and broadens one's perspective.[8]

In October 1945, his father and his three-year-old nephew, Newell Convers Wyeth II (b. 1941), were killed when their car stalled on railroad tracks near their home and was struck by a train. Wyeth referred to his father's death as a formative emotional event in his artistic career, in addition to being a personal tragedy.[9] Shortly afterwards, Wyeth's art consolidated into his mature and enduring style.[10]

Marriage and issue
In 1940, Wyeth married Betsy James[5] whom he met in 1939 in Maine.[11] Christina Olson, who would become the model for the iconic Christina's World, met Wyeth through an introduction by Betsy.[11] His wife, Betsy, had an influence with Andrew as strong as that of his father. She played an important role managing his career. She was once quoted as saying I am a director and I had the greatest actor in the world.[7]

Their first child Nicholas was born in 1943, followed by James (Jamie) three years later. Wyeth painted portraits of both children. His son, Jamie Wyeth, followed his father's and grandfather's footsteps, becoming the third generation of Wyeth artists.[12]

Three Generations of Wyeth Art
N.C. Wyeth was an illustrator famous for his work portrayed in magazines, posters and advertisements. He also created illustrations for books such as Treasure Island and The Last of the Mohicans. Andrew would be the role model and teacher to his son Jamie that his father N.C. had been to him.[7] Their story and artistic history is told in James H. Duff's An American Vision Three Generations of Wyeth Art.[12]

Death
On January 16, 2009, Andrew Wyeth died in his sleep in Chadds Ford, Pennsylvania, after a brief illness. He was 91 years old.[13]

Work
In 1937, at age twenty, Wyeth had his first one-man exhibition of watercolors at the Macbeth Gallery in New York City. The entire inventory of paintings sold out, and his life path seemed certain. His style was different from his father’s more spare, drier, and more limited in color range. He stated his belief that …the great danger of the Pyle school is picture-making.[3] He did some book illustrations in his early career, but not to the extent that N.C. Wyeth did.[7]

Wyeth was a visual artist, primarily classified as a realist painter, like Winslow Homer or Eakins. In a Life Magazine article in 1965, Wyeth said that although he was thought of as a realist, he thought of himself as an abstractionist My people, my objects breathe in a different way there’s another core — an excitement that’s definitely abstract. My God, when you really begin to peer into something, a simple object, and realize the profound meaning of that thing — if you have an emotion about it, there’s no end.[10]

He worked predominantly in a regionalist style.[14] In his art, Wyeth's favorite subjects were the land and people around him, both in his hometown of Chadds Ford, Pennsylvania, and at his summer home in Cushing, Maine.[7]

Dividing his time between Pennsylvania and Maine, Wyeth maintained a realist painting style for over fifty years. He gravitated to several identifiable landscape subjects and models. His solitary walks were the primary means of inspiration for his landscapes. He developed an extraordinary intimacy with the land and sea and strove for a spiritual understanding based on history and unspoken emotion. He typically created dozens of studies on a subject in pencil or loosely brushed watercolor before executing a finished painting, either in watercolor, drybrush (a watercolor style in which the water is squeezed from the brush), or egg tempera.[2][7][10]

Christina Olson

Christina's World (1948)

Museum of Modern Art, New York City
It was at the Olson farm in Cushing, Maine that he painted Christina's World (1948). Perhaps his most famous image, it depicts his neighbor, Christina Olson, sprawled on a dry field facing her house in the distance. Wyeth was inspired by Christina, who, crippled with polio and unable to walk, spent most of her time at home.[5][15]

The Olson house has been preserved, renovated to match its appearance in Christina's World. It is open to the public as a part of the Farnsworth Art Museum.[11]

Wyeth created nearly 300 drawings, watercolor and tempera paintings, mostly in a palette of gold, charcoal, brown and blue. Because of Wyeth's popularity, the property was designated a National Historic Landmark in June 2011.[16]

A short distance from the house near the water is the Hathorn family cemetery which includes the burial place of Christina Olson, her brother Alvaro and Andrew Wyeth. In a 2007 interview, Wyeth's granddaughter, Victoria, revealed he wanted to be buried near Christina and the spot where he painted Christina's World.[17]

Kuerner's Farm
Also in 1948, he began painting Anna and Karl Kuerner, his neighbors in Chadds Ford. Like the Olsons, the Kuerners and their farm were one of Wyeth's most important subjects for nearly 30 years. Wyeth stated about the Kuerner Farm, I didn’t think it a picturesque place. It just excited me, purely abstractly and purely emotionally.[18]

The Kuerners' farm is available to tour through the Brandywine River Museum, as is the nearby N. C. Wyeth House and Studio;[19] in 2011, the farm was declared a National Historic Landmark, based on its association with Wyeth.[20]

Helga paintings

Main article The Helga Pictures

Braids (1979), portrait of Helga Testorf
In 1986, extensive coverage was given to the revelation of a series of 247 studies of the German-born Helga Testorf, whom Wyeth met while she was attending to Karl Kuerner at his farm. Wyeth painted her over the period 1971–85 without the knowledge of either his wife or Helga's husband, John Testorf. The paintings were stored at the nearby home of Frolic Weymouth, his student and good friend.

Helga, a musician, baker, caregiver, and friend of the Wyeths, had never modeled before, but quickly became comfortable with the long periods of posing, during which he observed and painted her in intimate detail. The Helga pictures are not an obvious psychological study of the subject, but more an extensive study of her physical landscape set within Wyeth's customary landscapes. She is nearly always portrayed as unsmiling and passive; yet, within those deliberate limitations, Wyeth manages to convey subtle qualities of character and mood, as he does in many of his best portraits. This extensive study of one subject studied in differing contexts and emotional states is unique in American art.

In 1986, millionaire Leonard E.B. Andrews (1925–2009) purchased almost the entire collection, preserving it intact. Wyeth had already given a few Helga paintings to friends, including the famous Lovers, which had been given as a gift to Wyeth's wife.[22]

The works were exhibited at the National Gallery of Art in 1987 and in a nationwide tour.[23]

In a 2007 Interview, when Wyeth was asked if Helga was going to be at his 90th birthday party, he said Yeah, certainly. Oh, absolutely and went on to say She's part of the family now, I know it shocks everyone. That's what I love about it. It really shocks 'em.[17]

Other main works
Inspired by Winslow Homer's watercolors, Wyeth painted an impressionistic watercolor, Coot Hunter, about 1933. There he experimented with the fleeting effects of light and movement.[24]

Public Sale, 1943 (Philadelphia Museum of Art) is one of his first tempera paintings.[24]

After N.C. Wyeth's death, his work began to take on a melancholic tone.[24] Wyeth painted Winter 1946, 1946 (North Carolina Museum of Art, Raleigh) depicts a neighbor boy Allan Lynch running aimlessly down a bleak hill, his hand reaching out. The location of the work was the other side of the hill where his father had died and represented the unsettling, free-falling sense of loss.[10]

Brown Swiss, 1957 (Private collection) is one of many paintings he made from the 1950s to the 1970s of Karl and Anna Kuerner's farm in Chadds Ford. The painting is named after the Brown Swiss cows in the picture.[24]

In 1958, Andrew and Betsy Wyeth purchased and restored The Mill, a group of 18th-century buildings that appeared often in his work, including Night Sleeper,1979 (Private collection). Brinton's Mill was added to the National Register of Historic Places in 1971.[25]

Garret Room, 1962 (Private collection) was begun in watercolor and finished with the drybrush technique. [24]

Wyeth began to add portraits in the 1960s, such as Up in the Studio, 1965, a drybrush portrait of his sister Carolyn.[24]

In works such as The Patriot, a portrait of Ralph Cline, Wyeth looked beyond the surface to understand who he was painting.

Cline was an interesting gentleman 71 years of age, of Native American heritage and Maine humor. He wore a big hat and overalls and chewed tobacco. It was through painting him, though, that Wyeth understood that, beneath his humor and hard countenance, Cline was a warm-hearted veteran of great dignity and intellect.[10]

When Christina Olsen died in the winter of 1969, Wyeth refocused his artistic attention upon Siri Erickson, capturing her naked innocence in Indian Summer (1970). It was a prelude to the Helga paintings.[7]

Ring Road made in 1985 reflects the earth tones that Wyeth used throughout his career.