149 Paintings You Really Need to See in North America. Julian Porter
(c. 1614–16)
John Singer Sargent (1856–1925)
Repose (1911)
127 — Titian (Tiziano Vecellio) (c. 1488–1576)
Doge Andrea Gritti (1546–48)
128 — Titian (Tiziano Vecellio) (c. 1488–1576)
Ranuccio Farnese (1542)
Henri de Toulouse-Lautrec (1864–1901)
A Corner of the Moulin de la Galette (1892)
129 — Rogier van der Weyden (1399–1464)
Portrait of a Lady (c. 1460)
Sir Anthony van Dyck (1599–1641)
Marchesa Balbi (c. 1623)
130 — Sir Anthony van Dyck (1599–1641)
Queen Henrietta Maria with Sir Jeffrey Hudson (1633)
131 — Jan van Eyck (1390–1441)
The Annunciation (1434–36)
132 — Vincent van Gogh (1853–90)
Self-Portrait (1889)
Phillips Collection
133 — Auguste Renoir (1841–1919)
Luncheon of the Boating Party (1880–81)
CANADA
Chapter 13 KleinbUrg, Ontario
McMichael Canadian Art Collection
134 — A.J. Casson (1898–1992)
Summer Hillside (1945)
Lawren Harris (1885–1970)
Northern Lake (c. 1923)
135 — A.Y. Jackson (1882–1974)
First Snow, Algoma (1919–20)
Chapter 14 Montreal, Quebec
Musée D’art Contemporain de Montréal
136 — Guido Molinari (1933–2004)
Mutation Quadri-Violet (1966)
Chapter 15 Ottawa, Ontario
National Gallery of Canada
Giovanni Canaletto (1697–1768)
Saint Mark’s and the Clock Tower, Venice (c. 1735–37)
Paul Cézanne (1839–1906)
Forest (c. 1902–04)
137 — Jean-Siméon Chardin (1699–1779)
The Governess (1739)
138 — John Constable (1776–1837)
Salisbury Cathedral from the Bishop’s Grounds (1820)
Honoré Daumier (1808–79)
The Third Class Carriage (c. 1863–65)
139 — Paterson Ewen (1925–2002)
Gibbous Moon (1980)
140 — Lawren Harris (1885–1970)
North Shore, Lake Superior (1926)
Gustav Klimt (1862–1918)
Hope I (1903)
141 — Jean Paul Lemieux (1904–90)
The Evening Visitor (1956)
142 — Simone Martini (1284–1344)
St. Catherine of Alexandria (c. 1320–25)
143 — Barnett Newman (1905–70)
Voice of Fire (1967)
144 — Mary Pratt (1935–)
Red Currant Jelly (1972)
145 — Tom Thomson (1877–1917)
The Jack Pine (1916–17)
Chapter 16 Toronto, Ontario
Art Gallery of Ontario
Lawren Harris (1885–1970)
Untitled Mountain Landscape (c. 1927–28)
146 — Augustus John (1878–1961)
The Marchesa Casati (1919)
147 — Camille Pissarro (1830–1903)
Pont Boieldieu in Rouen, Rainy Weather (1896)
Rembrandt ( Rembrandt van Rijn) (1606–69)
Portrait of a Lady with a Lap Dog (c. 1665)
148 — Peter Paul Rubens (1577–1640)
The Massacre of the Innocents (c. 1611–12)
Tom Thomson (1877–1917)
Winter Thaw in the Woods (1916)
Sir Anthony van Dyck (1599–1641)
Daedalus and Icarus (c. 1620)
Chapter 17 Vancouver, British Columbia
Vancouver Art Gallery
149 — Emily Carr (1871–1945)
Forest, British Columbia (1931–32)
Emily Carr (1871–1945)
Scorned as Timber, Beloved of the Sky (1935)
Epilogue
Notes
Index of Artists and Their Works
Index of Paintings by Title
Checklist of the 149 Paintings
Acknowledgements
To Anna for her vision and rewriting skills. To Dawn Mathews for stitching all this together. To Jessica for creating Los Angeles. To Cliff Lax and Ian Roland and their band of legal supporters for having faith.
JP
Special thanks to Madeline Lisus, Madelyn Kirby, and Emma Fogelman for their diligence and persistence in the face of all research adversity.
SG
Introduction
You might well ask, what do two litigation lawyers know about painting? Good question. Answer: More than you think! And yet, we are not “experts” in the academic sense. What we have is a love of art that we think radiates in this book.
So, where do we come from in the art of looking at art?
Julian Porter, who focuses on the older paintings found in this book, was a guide to students in European galleries more than fifty years ago. There he learned how to talk with a painting. His writing is saucy, as you may know from his book, 149 Paintings You Really Need to See in Europe (So You Can Ignore the Others) .
Stephen Grant, who reviews the more modern works featured here, is more cerebral in his approach. Yet he has a passionate love of art.
We are both fascinated with how one should look at a painting. Why does a painting at first blush seem ridiculous (Twombly? Cézanne?), but then, after the brew of looking and looking again, appears magical, with an insight that reveals a bubbling, invigorating sensitivity? Art is a vital thing that forces introspection. That’s not such a bad thing for a lawyer or for you, the reader.
Question: Is Rothko better than Matisse? Is a Modigliani nude sexier than Renoir’s clothed Odalisque ? How is it that the foundation of modern art lay in the minds of three troubled artists — Van Gogh, Gauguin, and Cézanne? These are questions art asks of us, the viewer, as it invites us to engage. Coming up with the answers takes a lifetime.
For older art, is there any better place in the world than New York’s Frick? For the gentler