Where to See Fairfield Porter

Fairfield Porter's paintings and prints are held in many prominent US collections. These include the Whitney Museum of American Art; the Metropolitan Museum of Art; and the Museum of Modern Art (MoMA), all located in New York City. Other locations include the Philadelphia Museum of Art; the National Collection of Fine Arts, Smithsonian Institution, in Washington, D.C.; and the University of Iowa Museum of Art, in Iowa City. Additional locations include the Albright-Knox Art Gallery, Buffalo, New York; The Cleveland Museum of Art; the Robert Hull Fleming Museum, The University of Vermont, Burlington; the Grey Art Gallery and Art Study Centre, New York University; the Solomon R. Guggenheim Museum, New York; The Museum Section: Guild Hall of East Hampton, New York; the Phillips Collection, Washington, D.C.; the University of Nebraska Art Galleries, Lincoln; the University Art Museum, University of New Mexico, Albuquerque; The University of Texas at Austin; and the Walker Art Center, Minneapolis.

Fairfield Porter (1907^[1]-1975^[1]) was an American painter and art critic associated with realism. He is known for his representational paintings of domestic interiors, portraits, and scenes of nature, particularly around his family's summer home on Great Spruce Head Island, Maine, and his house in Southampton, New York. His prints are less widely discussed than his paintings; however, they represent an important aspect of his artistic output. Porter engaged with printmaking techniques, including lithography and screen printing, to create editions of his images. These prints often echo the themes and subjects found in his paintings, such as intimate domestic settings and coastal views. As a critic, Porter wrote essays on various artists, including John Graham, Joseph Cornell, and E. E. Cummings. His writings offer insights into his artistic values and his appreciation for representational art. He also produced a self-portrait.

Fairfield Porter was an American painter and art critic who is recognised for his figurative work during the dominance of Abstract Expressionism. He painted scenes of interiors, gardens, and family life at his homes in Maine and Long Island. He also wrote art criticism for Art News and The Nation.

Fairfield Porter worked primarily in oil paint on canvas. When preparing a canvas, artists often apply gesso, which is an acrylic primer, in two coats. These are brushed on in opposite directions. A canvas-textured paper can be used for more economical experiments. To adjust the consistency of oil paint, artists use mediums and thinners. Thinners such as turpentine or mineral spirits evaporate quickly and do not alter the paint's chemical composition. Mediums, however, such as linseed oil or damar varnish, do alter the chemical composition. A common medium is a mixture of linseed oil, damar varnish, and turpentine or mineral spirits. Odourless mineral spirits are considered a safer alternative to turpentine because they reduce exposure to solvent vapours. A final varnish coat protects the painting from dust and smoke. It also evens the colours to a uniform finish and makes them appear more saturated.

Fairfield Porter's work resonated with a number of artists. Hans Hofmann felt a friendly competition with Porter's art, around the time Hofmann made his turpentiney paintings. According to one source, Hofmann's attitude was, "I'll fix you, you kid. I'll show you how it's really done." The New York art community was welcoming at the time, and Hofmann and David Smith were close to Porter. They visited each other's studios, feeling challenged by each other's work. Other artists influenced by Porter include younger American painters and sculptors working with figuration, religious imagery, abstraction, and depictions of the natural world. The increased pride in America during the 1980s encouraged painters and sculptors to reconsider the national artistic heritage.

Fairfield Porter engaged with a wide range of artists and movements. He closely studied Analytic Cubism, particularly the work of Braque and Picasso. He also examined early Kandinsky, Miró, Matisse, and Mondrian. Porter analysed the structure within their paintings. He studied Matisse's 'Blue Window' (1913^[1]), Miró's 'Person Throwing a Stone at a Bird' (1926), Cézanne's 'Card Players' (1890-92), and Mondrian's grid paintings. He also drew inspiration from Léger, Renaissance artists, Quattrocento artists, Old Masters, American masters, and African art. Porter's artistic interests extended to contemporaries such as Hans Hofmann and David Smith; he maintained close relationships with both. Hofmann and Porter enjoyed a friendly rivalry, pushing each other. Porter also admired the work of Manet, producing 'For E. M.' (1981) as a response to Manet's 'Fish (Still Life)' (1864).

Fairfield Porter produced paintings, prints, and watercolours, mainly of domestic scenes, interiors, portraits, and still lifes. Although it is difficult to name one single 'most famous' work, some pieces recur in discussions of his art. These include portraits of his family and fellow artists, for example, *Anne and Elizabeth* (1954^[1]) and *The Poet John Ashbery* (1960). His interior scenes, such as *Interior with a Dress Pattern* (1953), also receive attention. Porter's work is characterised by its intimate, informal style and focus on everyday subjects. He combined representational painting with an interest in light and colour, influenced by French Impressionism. He is considered an important figure in 20th-century American art, known for his unique approach to realism.

Fairfield Porter (1907^[1]-1975^[1]) is often associated with representational painting, specifically a modern form of realism. This put him somewhat at odds with the dominant art trends of his time. After World War II, the New York art world shifted towards Abstract Expressionism. This movement favoured large, abstract works with bold brushstrokes, subjective themes, and an emphasis on human impulse. However, Porter pursued a different path, focusing on recognisable imagery and scenes from everyday life. Some art historians place Porter within the orbit of the "Bay Area Figuratives", a group of artists working in Northern California during the 1950s. They reacted against Abstract Expressionism's "lofty aspirations", instead seeking a more approachable and humble art. These artists often depicted still lifes and scenes from their immediate surroundings. While Porter was not geographically associated with this group, his artistic aims aligned with theirs.