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Fairfield Porter

American Painter, Printmaker, and Writer

Fairfield Porter Photo
Born: June 10, 1907
Winnetka, Illinois
Died: September 18, 1975
Southampton, New York
Main
Any artist has a style which determines and is the particularity of his communication.
Fairfield Porter Signature

Summary of Fairfield Porter

Fairfield Porter was one of the foremost practitioners of representational painting in the American art world of the mid-20th century. For several decades he created portraits, domestic scenes, and landscapes of the places he lived in, all depicting a relaxed and comfortable world that seemed to mirror his own affluent, well-connected existence. However, his art was often more nuanced than it appears at first glance. The influence of French Nabis painters Pierre Bonnard and Édouard Vuillard is obvious, yet Porter was also fully conversant in contemporary movements such as Abstract Expressionism, and his loose, energetic painting style owed much to his understanding of gestural abstraction. Porter was also a prolific critic whose work was published in several influential art journals; in his writing, as in his friendships and mentorships, he often championed other artists who sustained a commitment to realism and figuration.

Key Ideas

Biography of Fairfield Porter

Fairfield Porter Photo

Fairfield Porter was born in Winnetka, Illinois, a suburb of Chicago. He was the fourth of five children of James and Ruth (née Furness) Porter. The Porter family fortune, based in Chicago real estate, was several generations old; both sides of his family also had deep roots in New England.

Important Art by Fairfield Porter

Untitled (First Avenue) (1945)

Untitled (First Avenue) (1945)

Due to the financial hardships of World War II, Porter and his family rarely traveled outside New York City between 1941 and 1946, forgoing visits to their home on Maine's Great Spruce Head Island. During these years Porter was obliged to adjust his work patterns to city life. This untitled work from 1945 depicts Manhattan's First Avenue, presumably the corner just a half-block from the family home on East 52nd Street. The drab grays and browns of this painting, which are quite different from his vibrant use of color in later works, indicate Porter's somber mood, brought about by family strife and ongoing confinement to the city.

Katie and Anne (1955)

Katie and Anne (1955)

This scene of Porter's daughter Katherine and wife Anne is characteristic of the artist's oeuvre. Its interior setting, its golden light, and its intimate glimpse of family members in a moment of tranquility all show the influence of Édouard Vuillard and Pierre Bonnard on Porter's work. Yet the setting of the Porters' home is distinctly American and mid-20th century, from the rug on the floor to Anne's clothing.

Even while painting a spacious room and the landscape beyond its window, Porter insists on the shallowness of his pictorial space and the flatness of the colors he has placed upon the canvas: certain passages of brushwork, particularly in the curtains and the chair in the background, are nearly abstract. As scholar William Agee has written of this work, "The surface is a single entity, all of it simultaneously present. Porter sought, as did Matisse, to make every corner of the canvas alive."

The Mirror (1966)

The Mirror (1966)

Porter painted several self-portraits of himself in the studio, and here he combines a self-portrait with a portrait of his ten-year-old daughter Elizabeth in the family's Southampton house. The Mirror's composition is complex: Elizabeth faces the viewer (and, by implication, the artist), and the mirror acts as a picture-within-a-picture, reflecting Porter as well as the room and the landscape beyond the window. In this single work, Porter pays homage to several of his artistic heroes. One is Édouard Vuillard, of course, but he also refers to Henri Matisse, whose Carmelina (1903) used a similar device of a frontally posed girl and a mirror reflecting the artist, and Diego Velazquez, whose Las Meninas (1656) is the forerunner of all such self-portraits within studio portraits of young women. Leonardo da Vinci is even present, in a detail of the Mona Lisa (1503-17) pinned to the studio wall. Despite these art-historical allusions, however, the specificity of Porter's studio (with its wood-burning stove) and the architecture beyond the window grounds the picture in the reality of the 1960s and coastal Long Island. Porter is both inside and outside the picture, unifying its reality and its reflections, history and the present day, in a skillfully arranged configuration of images within images, while putting us in his place to consider what it means to perceive and represent the world around us.

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Content compiled and written by The Art Story Contributors

Edited and published by The Art Story Contributors

"Fairfield Porter Artist Overview and Analysis". [Internet]. . TheArtStory.org
Content compiled and written by The Art Story Contributors
Edited and published by The Art Story Contributors
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First published on 25 Jan 2009. Updated and modified regularly
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