The gamecock. (Columbia, S.C.) 1908-2006, January 30, 1980, Page Page 13, Image 13
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Ah! What a painting, and what a wonderful excuse
to write about an artist I deeply admire. That artist is
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n.c iaic nmci itijii pawner jonn is.ocn, and the
painting is the highlight of the Columbia Museums '79
accessions, Koch's "Painter and Models."
Koch (pronounced coke) is an artist of rare caliber
one of those individuals who seem to creep out of the
woodwork only to sour all the more the already
strained "progression of artistic development."
Thus, Koch is a fluke, in the tradition of a Blake or a
Bosch he is a master in the wrong era. How strange it
must have been for him in his New York highrise in
the '40s and '50s, to depart his Italian Renaissance to
the galleries below, that were bursting at the seams
with abstract expressionism. In a time when the
catch word was "innovation," Koch was content to
simply create.
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certainly resulted from the stunning exhibit of Koch
works that garnished the Columbia Museum back in
October/November of '78. This exhibit, which was
organized by director Walter Hathaway (who is also
a Koch fanatic). featured 26 works ranging from over
30 years of totally uncompromising excellence.
If you missed this exhibit, "Painter and Models"
should give you a fairly clear idea of Koch's sensibilities.
When looking at the work, it is obvious that
the artist's central concerns deal with light, more
specifically, the play between artificial and natural
illumination. Yet, Koch was never content to simply
paint the effects of such light upon objects, although
the work enumerates virtually every shadow and :
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Art lover explores enlarged east gallery in
Columbia Museums
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2r in wrong era
reflection possible, but more the effect of such light
upon the atmosphere. The result is a painting that |
magically glows, as if the air of space has been
trapped upon the weave of the canvas.
The subject matter of the work reflects its
descriptive title, with the artist discussing with one of
his models something of the work in progress. A
second model reclines upon the floor, casually talking
on the phone. This points out another of Koch's
special talents, and that is the integration of blatantly
contemporary objects into a seemingly grand
composiion. The phone and the skyscraper out the
window are so at home with the heavy drapery and
traditional easel and palette that one hardly notices
their strangness.
There are numerous other factors that make (
"Fainter and Models" a great work of art, but seeing
is believing, and onp mn iim
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museum's newly renovated library. i
Which brings up another point for brief notation,
and that is the museum's changing appearance. The
old West Gallery now houses the new and enlarged
library, which can be used by the public for research |
or casual reading. This relocation has also enhanced
the Historical Gallery, which now seems more in- j
timate and rich.
We've discussed earlier the new enlarged East
Gallery, which has doubled in size, so there has been
no reduction in exhibition space in the shuffle.
This year's annual report reads like a list of accomplishments,
Walter Hathaway and the museum
staff should be commended for a very fruitful year.
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Pain ter John Koch's ' 'Pain ter and Models''
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