This large painting, which I call Blue Triumph, is part of the permanent collection at Clarke University. The date my aunt painted this is unknown, but it would be prior to her leaving to go to San Francisco in the late 60s. This could be late 1950s or early 1960s. My best guess is approximately 1966.
I am not a world traveler! Does the large blue structure, center left, look familiar? This shape, which I associate with the modern Under Armor logo, appears in many of her paintings, but none as large as this one. I could be mistaken, but I see shades of suggestion that this represents the base of the Eiffel Tower.
The perspective is a low to high vantage point. I’ve studied the painting a long time. I see a young girl in the bottom right, her tawny face in profile, mouth agape at she takes in the splendor of the structure. I see her wearing a blue beret that has slid onto the back of her head, almost touching the knapsack she straddles on her shoulders. This girl is a student tourist, perhaps one of my aunt’s students from Clarke.
The sky is mottled with intensites of blue. Hints of green lawn tell me this is a spring or summer visit. An early morning or late afternoon sun bounces of the arch and bathes the sidewalk with sunlight. A red flag on the structure hovers directly above the girl’s forehead.
I’ve had this image for a while, shared with me in photo by Sr. Sara at Clarke. Time permits me to take another, closer look at some of her paintings and I am finding more to say about each as I study them closer.
I originally called this “cells” but this looks very urban to me—it could be scaffolding going up in a city. The lower rectangle or bottom layer look taller than the one above. I see a door, center right, I see a distant skyline top center left (outlined) and a larger more diffused, taller skyline at top right. On the left, a lamp post or sign post is visible. Quite a lot going on in each shape, cell or section, and ebb and flow traveling through each compartment is nonexistent. Each cell has its own separate activity and color palate. They do blend however in the street/sidewalk reflection.
At the top layer, two cells have X’s spanning them and a third is suggested far left. My aunt employes this crisscrossing pattern frequently in her work. Take a look at the top right square. If you are familiar with my aunt’s earliest BVM habit, what could be interpreted as a boxy black and white habit is softly suggested. It is on the left side of that top square. Maybe that is a stretch on my part.
But there is something going on in each section—everything it its own neat environment— but on the outside, they all contribute to a combined glow – a reflection of the vibrancy of diverse lives in a multi-unit building or structure.
What is most fascinating is that it is very unlikely my aunt ever walked city streets at night. Before Vatican II, any time she left the convent she always had to travel with a companion sister. When my father met her for the first time in the late 1940s, she had a nun buddy with her. I am not sure when she traveled to Europe, what her restrictions were regarding wandering around urban areas at night.
How much of this is her imagination I cannot say. It looks very NYC to me, or Chicago. There is the suggestion of a little hillside village or suburb on the left, so it may be the juxtaposition of two different cultures. What ever location it depicts, it is vibrant and interesting. A print of this would be something to treasure and enjoy and reflect upon.