Research Base On The Art Object: Walt Kuhn- Clown With A Black Wig

WALT KUHN- CLOWN WITH A BLACK WIG
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WALT KUHN- CLOWN WITH A BLACK WIG
Introduction
Visual and performing art is arguably one of the most celebrated disciplines in the contemporary academia. It has become of much interest among gurus, with some resuscitating its viability through scholarly research. An important art in the ancient time is Walt Kuhn’s Clown with a Black Wig, painted in the early 1930s. Presented at a time when visual and performing art was first gaining relevance in New York, America, the art gained much interest and received numerous local as well as international accolades. This research study paper wills adeptly examine the Clown with Black Wig art, as presented by Walt Kuhnas well as the clowns world as previously studied by scholars and gurus.
Walt Kuhn
It is fundamental to first understand artist Kuhn Walt in fanatical details before his art of works. Born in America’s New York City in October 1877, Walter Kuhn was one of the United States greatest painter as well as the planner of the widely cited and famous show, the Armory Show in early 1913 which could later turn out to be America’s initial big scale introduction of modernism in Europe.[Cole, Thomas B. "Clown With Folded Arms: Walt Kuhn."]
As a young man, there is however little literature to indicate a future venture in art as a career. His parents were working class; hence he lived a considerably good life. Nonetheless, there is notable research; more so by Cole Thomas, 2015, that is a clear depiction of his early love for drawing.
According to Cole Thomas, Walter Kuhn’s early job was a bicycle administrator as a racer. He was also at the beginning, introduced to a diverse range of waterfront wrestles where he gained much insight and experience. In his youthful age at mid tens, Walter Kuhn made a major breakthrough in his art work when he first sold his first drawing to a certain American magazine.
In this endeavor, he started signing his name as Walt, hence the dramatic paradigm shift of his name from Walter, to Walt. From the sheer realization that he could benefit from a type of class training, Walt enrolled at Brooklyn Polytechnic Institute for art classes, he would later become a professional painter from the school, and grow as a lead painter later on in the Institute.
Before the start of 1999, Walt began travelling to California with a mere less than seventy dollars where he could secure job as an illustrator for a magazine, the Wasp magazine. He began contemplating on how he could grow an artist, decided to present himself to senior painters. He later on travelled to Paris in France where he started art at various colleges and later on toured Netherlands at the museum of venice. Cole Thomas again writes that while in Netherlands, Walt witnessed and saw the art work of impressionists and post impressionists.
He would later on return to his home town, New York in 1903 and secure a job as a journal illustrator. In a research by Doherty Thomas on "The Great Confusion, the 1913 Armory Show’ 2014, Walt Kuhn’s first public presentation in his art work was in 1905 when he performed his first ever exhibition in Salmagundi Club, New York. This gave him a public accolade as an actor, receiving civic attention. After the School of Art in New York was moved to New Jersey I Fort Lee in 1908, Kuhn was one of the pioneer members of the school. He would opt out of school and go back to his home in New York where he married Vera Spier. He became a good friend of artist Arthur Davies, who would later become instrumental in the history of arts in the United States of America[Doherty, Thomas, ed. "The Great Confusion: The 1913 Armory Show."]
Doherty Thomas research study further conjectures that Walt Kuhn first staged his single exhibition in New York, 1909. This was an important milestone in his art journey as a professional. He received numerous accolades from the show, becoming a celebrity and presenting himself as a painter as well as cartoonist. He became an important co member as well as co founder of the organization of American Painters and Sculptors, the imminent organization responsible for the great Armory Show.
In the Armory Show which featured both European as well as America’s contemporary artists, Thomas further notes that Kuhn acted as a Secretary Executive, with a delegative role as a point man in frisking participating European Artists, touring most parts of Europe to find the best actors. This would later culminate into a mighty show that was not only historic but also displayed a great show of contemporary art. With an adept combination of the word of mouth, the show attracted an attendance audience of over 200,000 and made a gross sales figure of $44,000, the greatest amount any show could make as at the time. From this, the show, alongside Walt Kuhn, began being shown in various towns and cities; more so in Chicago, Boston and Alabama; receiving worldwide attention. Robert Hughes was once quoted saying, ‘Walt Kuhn has a talent for promotion and painting’. The show, not only elevated Kuhn in his painting art profession, but also presented him as an actor, performer as well as actor.
It is fundamental to note that Walt Kuhn’s art work in the early 1900s indicated the effect of Europe’s painters where he had been instrumental in assisting to develop. His painting works had become representational. His painted portraits are still acknowledged and command strong sense of colors and profound thick textures. In the early months of 1925, Walt Kuhn contracted ulcers and almost lost his life. He could later on recovery and secured a job as an instructor in the Art Students League of New York. Kuhn passed on in July 1949 from a duodenal ulcer infection.
Kuhn’s work is often mostly remembered for his imminent role in the Armory Show, where he acted as an advisor. A collection of his works has been kept in Moore Gallery exhibition, Pennsylvania Academy of fine Arts, Madison Gallery, Whitney Museum of American Art Exhibition, John F. Kennedy galleries among others. He further holds tremendous accolades in the visual and performing art. Among his notable painting art was the Clown with a Black Wig.
Albert Driscoll.
Albert Justin Driscoll was a religious Roman Catholic clergy born in 1920. He served as president of a college and bishop of the Fargo. Born to Agnes and William in Bernard, Driscoll was a respect religious leader as well as a scholar who was consecrated in 1971 by Archbishop Luigi Raimondi.
Mr. Driscoll first studied at Loras College where he graduated with an undergraduate degree in Arts. He would later enroll for a Master of Arts degree at Catholic University of America in Washington. More so, he was ordained as a priest at the onset of 1945 where he could then serve as a teacher at Loras Academy. He continued studying postgraduate studies and would later be appointed as secretary to the Archbishop Henry Rohlman. He graduated later on in 1952 with a philosophical doctorate degree in the year 1952. Other than being a religious Roman Catholic Church leader, Albert Driscoll was equally a scholarly, as explained in a research study on ‘A Directory of Shakespeare in Performance Since 1991’ by O'Connor and Goodland, 2016 .
Driscoll would later return to Bernard in Lowa where he served worked as a secretary to Archbishop Leo Binz as well as a superintendent of the Catholic Group of Schools. Additionally, he was appointed President of Lorazo College in the years from 1967 to 1970. Of worth to note is that Dr. Driscoll awarded full academic scholarship to halfly vetted African American students who would later be expelled. The scholarship program could later be put away, making the President unpopular in the college at a time when his critics began seeking his resignation.
Dr. Albert Driscoll was appointed the Bishop of Fargo in North Dakota by Pope Pau VI. It is written that he obtained his Episcopal sanctification in 1971 from the Archbishop Luigi Raimondi alongside the Archbishops Leo Binz and James Bryne as the co consecrators. Driscoll served as bishop for a long span of fourteen years when he died in 1984 at the age of 64 years.
Dr. Albert Driscoll is the sitter for the Clown with Black Wig portrait, as presented by Kuhn Walt. In the Portrait, Driscoll is masqueraded in make ups, which leaves the art work appealing to a viewer. Additionally, Albert is embroiled in costumes and his specific real identity of human nature is hidden from normality. An important phenomenon to note is that the motionless sitting posture as portrayed by Driscoll moves contemporarily with the physical nature related to the clowning.
O'Connor and Goodland in their Directory of Shakespeare in Performance, 2016, opines that the unsmiling gaze of Albert Driscoll, a contradictory to the circus joviality in many art painting works is a general aspect of Walt Kuhn’s art portrait painting, which makes it unique from painting works by other artists. His is a sense of capture on the viewers, drawing close looks in a bid to understand the art works keenly. It can henceforth be established that Walt Kuhn’s Clown with a Black Wig, vehemently depicts a real painting work.[O'Connor, J., and K. Goodland. A Directory of Shakespeare in Performance Since 1991]
CLOWN WITH A BLACK WIG
Background Information.
Clown with a Black Wig is fine art paint by Kuhn Walt, a celebrated American painter and artist. Put in canvas oil, it is only near truth that an expert could foretell the difference between the art picture and the real original image. Originally put in New York White Plains at the onset of 1930, the Clown with Black Wig. Even though the Clown with A Black Wig has received a sharp criticism, Kuhn Walt avoided many aspects of white avant-garde to become a celebrated artist with the paint.
Fear and hate for Clowns.
In the early 1930s, there was an accrual fear of clowns as an art. In his research study, Cole Thomas, "Clown With Folded Arms, Walt Kuhn." 2015 penned that by allowing individuals to individually view clowns in art pa...