The artistic stylization used by early 20th century artists implemented a versatility of techniques which served to embody the idea of unity and relationships. Thomas Hart Benton’s Romance (c. 1931-32), Jerry Bywaters’ Oil Field Girls (c. 1940) and Yasuo Kuniyoshi’s Waitress from the Sparhawk (c. 1924-25)--which are all displayed all the Blanton Museum of Art--explore a sense of duality that exists between a human relationship. Through individual artistic methods and aesthetic approaches, each artist establishes particular sets of ideologies in their paintings. By analyzing each of their individual artistic techniques, it proves to show their interpretation of human relationships. Thomas Hart Benton’s Romance (c. 1925) captures the ideality
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1940) approaches the idea of human relationship in a similar perspective compared to the previous artist. Bywaters continues the idea of comfortability and intimacy but as well as establishes a form of individuality that exists within a relationship. The artist portrays two young women on the desertland outskirts of an industrial background. The women, clothed in the decade’s attire, stare off the painting towards an invisible distance. A curved road leads into the background, where a field of drilling rigs and commercial advertisement cover the landscape. One of the Bywaters’ fundamental techniques in establishing closeness among the women is his usage of composition. The two central figures, instead of presenting them as their own presences, are conjoined together as one central figure; the slight overlap among the women adds an element of connection. Further, the posture of the women are directed towards each other which creates closeness among the figures. The artist implements a variety of objects, such as briefcases, advertisements, automotive debri, and the drilling towers to establish an overwhelming sensation that brings the women together. Further, the hazy texture of the smoke, made of soft brush strokes, creates a shroud over the painting that adds to the calamity. To further discuss stylization and texture, Bywaters uses a more vibrant colorization that brings a boldness to the central figures and the surrounding objects;
1940) approaches the idea of human relationship in a similar perspective compared to the previous artist. Bywaters continues the idea of comfortability and intimacy but as well as establishes a form of individuality that exists within a relationship. The artist portrays two young women on the desertland outskirts of an industrial background. The women, clothed in the decade’s attire, stare off the painting towards an invisible distance. A curved road leads into the background, where a field of drilling rigs and commercial advertisement cover the landscape. One of the Bywaters’ fundamental techniques in establishing closeness among the women is his usage of composition. The two central figures, instead of presenting them as their own presences, are conjoined together as one central figure; the slight overlap among the women adds an element of connection. Further, the posture of the women are directed towards each other which creates closeness among the figures. The artist implements a variety of objects, such as briefcases, advertisements, automotive debri, and the drilling towers to establish an overwhelming sensation that brings the women together. Further, the hazy texture of the smoke, made of soft brush strokes, creates a shroud over the painting that adds to the calamity. To further discuss stylization and texture, Bywaters uses a more vibrant colorization that brings a boldness to the central figures and the surrounding objects;