Menu Search
About Us
The Art Story Homepage Artists Eric Fischl Art Works

Eric Fischl Artworks

American Painter and Sculptor

Eric Fischl Photo
Movement: Neo-Expressionism

Born: 1948 - New York, New York

Artworks by Eric Fischl

The below artworks are the most important by Eric Fischl - that both overview the major creative periods, and highlight the greatest achievements by the artist.

Bayonne (1985)

Fischl called the separation between these two subjects a caesura, a metrical break in verse; the older woman and the young girl may be related, they may be the same person in different times, or they may have no relationship. Perhaps they share a room - notice the similar walls, floor, and lighting - but the overlapping canvases hint at an emotional hierarchy. The woman might be reflecting on the girl with envy, affection, or bemusement within her lounging posture of resignation. Note the girl's stiff posture in contrast to her ballerina costume, her inelegant foot position and forward lean; now look at the woman's graceful pose, the muscled calves and relaxed nudity. Both subjects are trapped within Fischl's framing and the limitations of their age: the woman is no longer nubile, the young girl lacks grace. Cynical portraits, perhaps, but when viewed straight on the duo become a singular piece. It's only when viewed from an angle that the break, the caesura, occurs.

Through this comparison, Fischl gives control to the viewer. Is he making us responsible for deciding how the subjects interrelate? His answer is unusually generous: all interpretations are valid, though only a few are consciously intended. Read left to right, Bayonne evokes the sorrow of memory, even as the girl seems to reject this label. With her outstretched hands and rooted pose, she pushes back, perhaps against her future self, perhaps against our projections of her yet to be realized life.

Sleepwalker (1979)

A young man stands in a plastic swimming pool in a suburban backyard, shoulders hunched, gaze fixed downward, penis in hand. A hint of prurience mingles with the conservative hues and totems of everyday America. The boy might be sleepwalking or just peeing in the kiddie pool.

Completed shortly before his career took off in New York, Sleepwalker typifies Fischl's blend of voyeurism and sexually-tinged banality. It is also a great example of the Neo-Expressionist style in which painters known as New Fauves, or "The Wild Ones," portrayed recognizable subjects with jarring intensity and vivid color. Although we don't know who this boy is, we are thrust upon his private moment, perhaps triggered into feelings of awkwardness, embarrassment, disgust or compassion for our common human foibles. Are we witnessing an unconscious foray in the middle of the night or a brash pubescent marking of territory as household rite of passage? Regardless we are reminded of the resonant human vulnerability that lurks within the perceived shelter of our own homes. Note the quadrupled circles - his head, his head's reflection, the round pool, and the round lawn - allusions to a spotlit subject on an accidental stage. The light, whether from moon or sun, is glaring. The pool is still. The lawn chairs bear silent witness, as do we.

From Our Sponsor. Article Continues Below

Bad Boy (1981)

Slatted with gauzy light, a nude woman sprawls out across a bed. She appears unaware of the boy standing directly in front of her. The boy watches the woman as his hand slips into what is presumably her purse. The woman's pose is languid, post-orgasmic, and unashamed. The boy is seen in mid-theft but his pose suggests preternatural confidence, as though he's done this before. Perhaps she has, too.

Bad Boy offers a scene of daytime noir in which the harlot and the scamp are dramatically lit, the sheets are rumpled, and a screw is followed by a theft. But Fischl's Freudian puns nudge the observant viewer like an elbow to the ribs with the phallic bananas in the fruit bowl and the boy's hand in the woman's purse. Even the shape of the purse's opening conjures her sex. The Old English pusa means purse, slang for vagina, leading to our modern-day pussy. Fischl offers a wink amid the weirdness, just enough to lower our guard. The scene suggests a triple-manipulation: the boy gets what he needs, the woman gets what she wanted, and we get a narrative suitable for the cover of a pulp mystery. Although a lesser artist would have closed the woman's legs, Fischl's daring establishes himself as a master of clinical hedonism.

A Visit to / A Visit From / The Island (1983)

Created from the combination of two canvases, this painting juxtaposes two polar scenes in comparable settings. On the left, a family enjoys a sunny day by the sea. The foreshortened figure of a nude woman reclines on a raft while a child snorkels beneath her. A man walks jauntily through the turquoise water and a child stands facing the viewer. The mood is stridently different in the companion scene. A group of black men and women frantically cross the shore as dark waves crash upon it. Poorly clothed figures, reminiscent of the reclining woman, lie motionless on the sand. A woman pulls at the unresponsive arm of one such figure.

In this diptych, Fischl confronts the irony of island resorts, locations sought out by vacationing families while simultaneously fled by native groups. Within his career, Fischl completed several paintings of nude scenes sea or poolside. Often of wealthy families, these works portray more than mere studies of the recreational human form and the dynamics of that stratum. Paired with the secondary image, which Fischl based on photographs of Haitian refugees arriving on the Florida coast, the message becomes more biting. The relaxing family seems completely oblivious to a more universal strife that could very well have occurred on that very same beach.

Ten Breaths: Tumbling Woman II (2007-2008)

Following the events of 9/11, Fischl sculpted "Tumbling Woman" for the Rockefeller Center as a tribute to the lives lost. The bronze sculpture depicts a nude life size woman in free fall, her legs twisted perpendicular to her compacted torso as her neck comes into contact with the ground. Despite the massive death toll, there were very few bodies following the terrorist attack and the media censored such images. Yet Fischl, in his commitment to "never let the unspeakable also be unshowable," created this work as an embodiment of human vulnerability both on that infamous day and in general. It confidently reiterates his underlying artistic intention of bringing the dark currents of everyday life out into the open; a distinct signature of his work within the Neo-Expressionist genre, in which artists pointedly break the veil of intellectual distance and invite the viewer into a more forced intimacy.

Despite, and perhaps provoked by his intentions, "Tumbling Woman" met with severe hostility from a wounded public. Fischl was accused of exploiting the sensitive emotions surrounding 9/11 to bolster his then dwindling art career. Not long after its debut, the sculpture was covered and then subsequently removed. Despite the general public's rejection of the work, copies of the sculpture can be found in the collection of the Smithsonian American Art Museum and the New York Academy of Art. It remains an important iconic reminder of a dark day in our history, one in which our collective internal fears were turned inside out to tumble freely, exposed.

From Our Sponsor. Article Continues Below

The Clemente Family (2005)

In this oil painting, Fischl captures an unorthodox portrait of Francesco Clemente, an artist friend, and his family. The family members are widely dispersed within a dark room, pierced in sections by harsh light that may come from an opening door. Whiteness engulfs the faces of Clemente's wife and one of his daughters, yet Clemente sits alone on the edge of the canvas and his two sons stand in the shadows of the back corner. This separation of brightness and shadow carves a sense of striking emotional disconnect between the family members augmented by the awkward spatial composition of the room.

Fischl's fascination with family dynamics and relationships remains a central theme of his oeuvre. In this particular case he utilizes the composition to communicate the dynamics he observes: the strong centrally located matron, the reluctantly present sons, and the complacent daughters. Like many of Fischl's social realistic portraits, he invites the viewer into the role of photographer even while his lush brushstrokes and slightly skewed perspectives remind us of the inherent liberties of painting. Fischl never poses his subjects but rather notes their behavior and the manner in which they interact truthfully and without artificiality.

Art Fair: Booth #17 Instructions (2014)

From Fischl's most recent series, this painting captures the interface between three art fair attendees. Although a significant departure from his sexually charged suburban scenes, this series still focuses upon the behavioral humanity of its subjects in contrast to their environment. Fischl creates these scenes from photos that he takes of people at fairs, but they are not intended to be portraits. They instead are meant to capture stereotypes: the wealthy art collector, the posh gallerist, the glamour-seeking intern, the art party socialite, and others. With notepad and smart phones in hand, the three figures converse, presumably about the art that surrounds them yet without looking at the art at all, more enthralled by being part of the "scene." In an ironic role reversal, the artworks remain in the background, witnessing the interaction of the attendees, as opposed to being observed by them.

As a member of the generation of artists that experienced the effect of the economic boom of the 1980s upon the art world, Fischl simultaneously witnessed and participated in the transformation of the New York City art scene. Following the publication of his autobiography, Fischl began to scrutinize this shift and the resulting state of the art world. The resulting series, documents the commercialization and dehumanization of art (here, the art is mere commodity).

Related Artists and Major Works

La Toilette (Nude Arranging Her Hair) (1884-86)

La Toilette (Nude Arranging Her Hair) (1884-86)

Artist: Edgar Degas (Read Full Artist Overview, Biography, and Artworks pages)

La Toilette is typical of Degas's many nudes, and typical of an approach to the nude that made this body of work particularly controversial - both among his contemporaries and among latter day critics. It demonstrates his tendency to capture the figure from behind, while washing; to show only a fragment of the figure in order to suggest the whole; and to place the figure in shallow space, allowing her contours to produce the strong linear design that balances the picture. Critics attacked his nudes for never having distinct faces, and seemingly to be wiping themselves as if they are not clean. As if Degas depersonalized his subjects.

Degas's interest in the nude might have been encouraged by his academic training, though his posing suggests the modern innovations of the Realists and Impressionists. Indeed when Degas exhibited a suite of pastel nudes such as this at the sixth Impressionist exhibition of 1886, critics attacked their unusual posing. The picture also demonstrates the artist's use of pastel, which he usually painted on tracing paper - the paper allowing him to produce numerous sketches that are easily manipulated accross his many studies of form.

The Age of Bronze (1876 (cast in bronze c.1906))

The Age of Bronze (1876 (cast in bronze c.1906))

Artist: Auguste Rodin (Read Full Artist Overview, Biography, and Artworks pages)

A young officer was the model for this sculpture, which provided the first great succès de scandale, or "success of a scandal," of Rodin's career. The composition and rough surface of the figure were unconventional by academic standards. The subject also remained obscure - the title only vaguely suggesting classical art - and prompted confusion among critics; rather than clothe his image of man in respected symbolism, Rodin had presented a common man, naked. But controversy ultimately centered on allegations that the piece was a direct cast from the body rather than a modeled sculpture. The allegations were a testament to Rodin's technical skills, though the suggestion that he had somehow cheated heartily offended the sculptor, who was able to disprove the claim with photographs of his model.

Man with Leg Up (1992)

Artist: Lucian Freud (Read Full Artist Overview, Biography, and Artworks pages)

This is one of Freud's many paintings of the Australian performance artist Leigh Bowery. Freud's friends introduced them, hoping that Bowery's flamboyant style, which included bright colors and sequins, would inspire Freud to abandon his usual drab palette. Being obstinate, Freud asked Bowery to shave his whole body. Freud saw Bowery's muscular legs as his best feature, and often showcases them in a series of unusually unselfconscious and passive poses that thwart the conventions of male portraiture.

In Man with Leg Up, Bowery lies on the floor with his legs splayed. One leg rests on the bed while the other bends underneath him, as if keeping him from sliding down the floor, which tilts toward us. Nearly all elements in this scene, from the supine pose to the splayed legs indicates vulnerability. Exaggerated foreshortening makes Bowery's top half appear further away, highlighting the exposure of his hairless groin, which occupies the very center of the picture. Bowery seems at ease with this. His facial features are relaxed. His left arm cradles his head while his right is draped across his chest, regarding us as if to say, "so what"?

The two men developed a friendship, and Freud continued to paint Bowery over the course of four years, until his death from AIDS in 1994.

Share on FacebookShare on TwitterSave on PinterestSend In Facebook MessengerSend In WhatsApp
Support Us