Walter Quirt's Art 1934‑1935
Walter Quirt's own illustrations and cartoons were the most important influence on his work from 1929 to 1936. His subtly colored paintings resembled miniature murals, and the cartoon like figures inhabited environments that looked like theatrical stage settings. These panels were influenced also by a revival of Renaissance techniques, by the Mexican muralists, and by the introduction of surrealism into American painting.
During the late twenties and early thirties an increased inquiry into the techniques used by Renaissance artists was readily apparent in the works of many painters. Enamel‑like surfaces and intense colors were products of this interest and are evident in Quirt's small panels, as well as in the paintings of Salvador Dali. Dali's miniature panels, with their precisely painted images, saturated hues, and ambiguous content and spatial environments, may initially have provided an aesthetic model for Quirt's paintings. Dali had his first one‑man exhibition in the United States at theJulien Levy Gallery in New York, November 21 ‑December 10, 1934, just a little over a year before Quirt's sixteen small panels were shown at the same gallery(Need to photo these), However, it is also likely that Quirt was influenced by the emotional exaggerations in the figures and landscapes of Northern Renaissance masters, such as Matthias GrUnewald or Quattrocento Italian masters, filtered through the works of de Chirico and Dali.
Quirt was also influenced by the caricatured figures and surroundings used in the murals of Mexican painters, particularly those of Jose Orozco. Quirt's miniature murals contained barren landscapes, dilapidated houses, and human forms with exaggerated physical features, which were readily understood by Marxist groups as social symbols.
Walter Quirt's own illustrations and cartoons were the most important influence on his work from 1929 to 1936. His subtly colored paintings resembled miniature murals, and the cartoon like figures inhabited environments that looked like theatrical stage settings. These panels were influenced also by a revival of Renaissance techniques, by the Mexican muralists, and by the introduction of surrealism into American painting.
During the late twenties and early thirties an increased inquiry into the techniques used by Renaissance artists was readily apparent in the works of many painters. Enamel‑like surfaces and intense colors were products of this interest and are evident in Quirt's small panels, as well as in the paintings of Salvador Dali. Dali's miniature panels, with their precisely painted images, saturated hues, and ambiguous content and spatial environments, may initially have provided an aesthetic model for Quirt's paintings. Dali had his first one‑man exhibition in the United States at theJulien Levy Gallery in New York, November 21 ‑December 10, 1934, just a little over a year before Quirt's sixteen small panels were shown at the same gallery(Need to photo these), However, it is also likely that Quirt was influenced by the emotional exaggerations in the figures and landscapes of Northern Renaissance masters, such as Matthias GrUnewald or Quattrocento Italian masters, filtered through the works of de Chirico and Dali.
Quirt was also influenced by the caricatured figures and surroundings used in the murals of Mexican painters, particularly those of Jose Orozco. Quirt's miniature murals contained barren landscapes, dilapidated houses, and human forms with exaggerated physical features, which were readily understood by Marxist groups as social symbols.
The Walter Quirt Family does not have any paintings from this time period for
sale
sale
Examples of Walter's Art from this period