{"id":1127,"date":"2026-07-29T11:07:36","date_gmt":"2026-07-29T11:07:36","guid":{"rendered":"https:\/\/cityrelocationnews.com\/?p=1127"},"modified":"2026-07-29T11:07:36","modified_gmt":"2026-07-29T11:07:36","slug":"fairfield-porters-lush-lonely-vision-of-the-world","status":"publish","type":"post","link":"https:\/\/cityrelocationnews.com\/?p=1127","title":{"rendered":"Fairfield Porter\u2019s Lush, Lonely Vision of the World"},"content":{"rendered":"
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The poet John Ashbery, in 1983, said that Fairfield Porter was \u201cperhaps the major American artist of the century.\u201d It\u2019s not praise you can take at face value\u2014Ashbery and Porter were good friends\u2014but it\u2019s a tempting thought. How might a painter of limited technical skill, who mostly depicted coastal landscapes and living rooms in the nineteen-fifties and sixties, be considered a major American artist? \u201cPerhaps\u201d is the key word in Ashbery\u2019s phrase, a little escape hatch that admits how improbable the judgment is while conveying the ambivalence felt by those of us who admire Porter and can\u2019t always say why. I think if you saw a lone painting of his in a junk shop, unsigned and unframed, you\u2019d find it perfectly pleasing and mediocre.<\/p>\n

Read more The Department of Labored Content<\/a><\/p>\n

The new exhibition at the Art Students League, \u201cFairfield Porter: What Everyone Knows,\u201d has the ideal selection to show why he\u2019s often better than his individual pieces. Porter studied at the League under Thomas Hart Benton\u2014one of his classmates was a fellow named Jackson Pollock\u2014and the experience of seeing his work here, as students hustle by with their backpacks and the perfume of turpentine wafts through the air, feels organic and just right. The gallery is evenly and fluorescently lit, and all thirty-five or so of Porter\u2019s featured paintings are in a single room, concentrating his palette of lime greens and creamy yellows and oxblood reds into one bright, soul-cleansing burst.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Everything happened for Porter when he was about forty-five. After flopping around for a few decades and getting zero traction as a painter, he was invited, in 1951, on the recommendation of Elaine de Kooning, to be a critic for ARTnews<\/em>. The following year, on the recommendation of Elaine\u2019s husband, Willem de Kooning, he had a solo show at Tibor de Nagy Gallery. The gallery\u2019s director, John Bernard Myers, gave Porter the show without even looking at his work, and was baffled when Porter showed up with half a dozen still-lifes and landscapes. In the fifties, to paint anything but a full-throttle abstraction was an efficient way to derail your career. But Porter\u2019s art grew on Myers, a not uncommon experience. Let the paintings breathe for a while, let them interact with one another and with your thoughts, and they\u2019ll meld together with salt breeze and summer light.<\/p>\n

An unusually late bloomer, Porter did his best work in the last decade of his life, from the mid-sixties to 1975. Until then, he was still processing his influences. Sometimes he\u2019d channel a bit of Edward Hopper, albeit with a looser wrist\u2014see the lonely house in a field in \u201cLandscape\u201d (1956)\u2014or borrow some lumpy shapes from Marsden Hartley, but the main hurdles were two Frenchmen, Pierre Bonnard and \u00c9douard Vuillard. Porter saw their work in an exhibition in Chicago, in 1938, and never let them go. Like his forebears, Porter painted bourgeois interiors with flat areas of color and dancing floral patterns on wallpaper and furniture. The problem is that, in much of his early work, the colors are drab. Sometimes a dark mustard or pale green sinks a painting, but often there\u2019s a dampening effect applied to everything, so that in a piece like \u201cArmchair on Porch\u201d (1955) all optical sensation is dulled to a minimum.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Thankfully, in the sixties, a light flips on. An extreme case is \u201cOak Tree\u201d (1969), where sunlight crashes through the branches onto the grass and becomes its own radioactive organism. There\u2019s a whole subgenre of these high-contrast works in Porter\u2019s late style, but my favorites are pieces like \u201cUntitled (View Outside Southampton Studio)\u201d (1968) and \u201cAmherst Campus No. 1\u201d (1969), with their cartographic splotches of foliage. It hadn\u2019t occurred to me until seeing \u201cAmherst\u201d at the Parrish Art Museum, a decade ago, that a painter could use color as a chronological instrument. In \u201cUntitled,\u201d a row of yellow-green trees are painted so phosphorescently on top of the other layers that they effectively chirp: Look here first!<\/em> Only then can your eye move to the brick-red house, the pale sky, the pockets of shadow. The effect is to re-create not the trees but the flow of the painter\u2019s own aesthetic experience.<\/p>\n

Porter credited the Impressionists with being the first to use color as a vehicle of subjectivity, and Bonnard and Vuillard with intensifying that subjectivity, painting their private lives with an anything-goes palette. But the colorist who gave Porter an extra edge was Willem de Kooning. In the fifties, when de Kooning started doing his big, slashing abstractions with wide housepainter\u2019s brushes, Porter said they recalled landscapes in which the colors are \u201cintensely themselves, as if each color had been freed to be.\u201d Colors didn\u2019t have to represent reality or make concessions to it; they were packets of immediate sensation. Porter said he found his own feelings in de Kooning\u2019s hues: a patch of blue expressed the delight of a Maine summer; pink was the way he felt on the seacoast; a harmony of warm tones bottled up the sensation of autumn. He once compared de Kooning\u2019s use of paint to the \u201cperfect orgasm.\u201d<\/p>\n

Read more Johnny Knoxville, America\u2019s God of Mischief<\/a><\/p>\n

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Most artists enchanted with de Kooning try to paint like him. But Porter somehow passed through the needle\u2019s eye of abstraction and returned to his own eccentric realism on the other side, churning out images of starched Southampton interiors and Penobscot Bay. There are pieces in the show, like \u201cIslands\u201d (1968) and \u201cView from the Front\u201d (ca. 1969), where you can see Porter using what he called the \u201cdry speed\u201d of de Kooning\u2019s brushwork. In \u201cIslands,\u201d there\u2019s an excellent sky-blue brushstroke that horizontally slices the green bush (or is it a tree?) near the middle of the painting. That single stroke implies either that the water is behind<\/em> the shrub, visible only in patches through the leaves, or that we\u2019re looking at a retinal afterimage of the water over<\/em> the shrub, as the painter swivels his head between the landscape and the canvas. There\u2019s also a little geyser on the far left, shooting upward like the vertical blast of paint through de Kooning\u2019s \u201cMerritt Parkway\u201d (1959). Ocean spray doesn\u2019t look that way, but it feels like it.<\/p>\n

Good painters rarely make good critics, but Porter was both. His writing was rhetorically pungent and had a rare jargon-free poetry. His most exotic idea was to delete fiftyish years of art history and suggest that Impressionism\u2014not Cubism or Surrealism or any other stylistic eruption\u2014was the real forerunner of Abstract Expressionism. A painting obtained reality just by transmitting the artist\u2019s own \u201ckinetic and visual sense of the world,\u201d Porter wrote. This was an indirect jab at his favorite nemesis, the critic Clement Greenberg, whose lockjawed aesthetic program presented Ab Ex as an expression of History itself, which marched in only one direction: from figuration and depth to abstraction and flatness. Greenberg represented the greatest sin for Porter\u2014letting ideas overrule experience. Ideas made painters and critics impervious to seeing what was in front of them. Porter\u2019s mission was to make people see again.<\/p>\n

For whatever reason, Porter couldn\u2019t see people. His portraits are almost comically bad. The painter Larry Rivers described Porter\u2019s portrait of him as \u201cflat and rather empty,\u201d and that applies to pretty much all of them. (For the comic element, consider his painting of Frank O\u2019Hara, who looks a bit like a salami sliding off a couch.) None of Porter\u2019s talent for shadow, light, and air transfers to bodies and faces. With \u201cThe Screen Porch\u201d (1964), a large group portrait that desperately wants to be a masterpiece\u2014it has a number of auteur touches, like a cannister of turpentine in the bottom left which signals \u201cthe painter was here\u201d\u2014Porter\u2019s family had the right idea, nicknaming it \u201cThe Four Ugly People.\u201d The only portrait in the exhibition with a spark is \u201cJimmy and John\u201d (1957-58), of the poets James Schuyler and John Ashbery. Their friendship isn\u2019t visible, nor are their personalities, but the way their bodies are angled away from each other evokes two ships crossing in open water. Just that simple arrangement makes the distance between them ache.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Although Porter was kept at arm\u2019s length by most of the Abstract Expressionists, he was embraced by the New York School poets\u2014in particular Ashbery, Schuyler, O\u2019Hara, and Kenneth Koch\u2014who, almost twenty years his junior, adopted him as a mixed-use transferential figure. To Schuyler, whose relationship with him was the most complicated, Porter was a father figure, a lover, a caretaker, a friend, and a rather sullen, insecure man who needed cheering up. The phrase \u201cconflict of interest\u201d doesn\u2019t begin to describe the kinds of transactions that took place, as Schuyler boosted Porter\u2019s paintings in exhibition reviews even while he was staying at the painter\u2019s house in Southampton, with Porter\u2019s wife and children, and living on his dime. Porter\u2019s family wealth came from land around the present-day Chicago Loop, and he spent much of his life supported by a trust. From the late forties on, he shuttled between his family\u2019s private island in Maine, Great Spruce Head, and the chilly, Federal-style house in Southampton, along with frequent stays in New York City. His wealth worked like a \u201ccotton padding\u201d between him and the world, a friend once said.<\/p>\n

Porter didn\u2019t disagree. By some accounts, he was an odd guy. Pleasantries eluded him. If he wasn\u2019t silent altogether, he might start talking intensely about one subject or another, and then fall silent again. He had a kind of estranged personality, with thick walls separating him from different parts of himself and from other people, and it can be felt in not just the portraits but the landscapes. Whether it\u2019s \u201cLooking Through the House\u201d (1961), a darkened interior with a window facing a bay, or \u201cA Day Indoors\u201d (1962), with three sitters in the house on Great Spruce Head, siloed in their own worlds, everything and everyone feels just slightly out of reach. There is a landscape you want to see, as if for the first time, or a person you want to speak to, and for some reason can\u2019t. So much of the feeling in Porter\u2019s work comes from this stuckness. It\u2019s one of the most difficult emotions to convey in art\u2014the emotion that hasn\u2019t yet found its expression\u2014but Porter mastered it.\u00a0\u2666<\/p>\n

Read more The Sunlit Joylessness of Netflix\u2019s \u201cLittle House on the Prairie\u201d<\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Zachary Fine reviews \u201cFairfield Porter: What Everyone Knows\u201d at the Art Students League in New York City.<\/p>\n","protected":false},"author":1,"featured_media":1126,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[43],"tags":[],"class_list":["post-1127","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-the-art-world"],"yoast_head":"\nFairfield Porter\u2019s Lush, Lonely Vision of the World - City Relocation News<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/cityrelocationnews.com\/?p=1127\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Fairfield Porter\u2019s Lush, Lonely Vision of the World - City Relocation News\" \/>\n<meta property=\"og:description\" content=\"Zachary Fine reviews \u201cFairfield Porter: What Everyone Knows\u201d at the Art Students League in New York City.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/cityrelocationnews.com\/?p=1127\" \/>\n<meta property=\"og:site_name\" content=\"City Relocation News\" \/>\n<meta property=\"article:published_time\" content=\"2026-07-29T11:07:36+00:00\" \/>\n<meta name=\"author\" content=\"admin\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"admin\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"9 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/cityrelocationnews.com\\\/?p=1127#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/cityrelocationnews.com\\\/?p=1127\"},\"author\":{\"name\":\"admin\",\"@id\":\"https:\\\/\\\/cityrelocationnews.com\\\/#\\\/schema\\\/person\\\/3e7ce0c0c60d21e12a5ac61fb2b786d4\"},\"headline\":\"Fairfield Porter\u2019s Lush, Lonely Vision of the World\",\"datePublished\":\"2026-07-29T11:07:36+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/cityrelocationnews.com\\\/?p=1127\"},\"wordCount\":1787,\"commentCount\":0,\"image\":{\"@id\":\"https:\\\/\\\/cityrelocationnews.com\\\/?p=1127#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/cityrelocationnews.com\\\/wp-content\\\/uploads\\\/2026\\\/07\\\/0634d87d856014c1accbefbfb84479d2.webp\",\"articleSection\":[\"The Art World\"],\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\\\/\\\/cityrelocationnews.com\\\/?p=1127#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/cityrelocationnews.com\\\/?p=1127\",\"url\":\"https:\\\/\\\/cityrelocationnews.com\\\/?p=1127\",\"name\":\"Fairfield Porter\u2019s Lush, Lonely Vision of the World - 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