Anna Fitzgerald, Temporary Coordinator of Image Services & Rights
Years ago I lived in Charles Village, so I was just a walk away from great art to take me all over the world. I love to wander through museums, letting the art grab me. Vallotton grabbed me.
I loved the way these figures wrapped up around each other; how their bodies were human, but also liquid. They melted into each other and the room. And the title – The Lie – that’s a good title.
There is also that red. Vallotton brings this woman to the forefront with her red dress, but the table, and the chair all the way in the back, is red too. The woman not only melts into her lover, but the furniture. It’s as though she could be dusted off, folded up, and put away just like the tablecloth.
I love the reflection of red on her face – on both their faces – after too much wine. I love the shape of her fingers on his back. I love the blob of their hands together, the indistinguishable features of a man all in black. I love the wallpaper, and the light spot in the background where the chairs meet. This gold wallpaper gives this scene a time and a place.
When I first saw this painting, I bought a postcard of it in the BMA Shop. I pinned it to a board near my desk at my home, and later at my workshop, and every now and then fell into it again…
During another trip to the museum I went into an exhibition on Edgar Allen Poe. One woodcut in particular seemed to capture the moment of a thought, the direct line to a feeling, in a portrait of Edgar Allen Poe. It was Vallotton again. I would later find out that The Lie, which I love so much, also began as a woodcut, which is in the collection at The Museum of Modern Art in New York. I am drawn to the similarities between The Lie and his woodcuts, where people melt into the background or swirl around like leaves on the sidewalk. We are part of the world, of the sky and the walls, not simply standing out in front of it.
Some years later, when I was studying Puppet Arts at The University of Connecticut, I had an assignment to recreate a landscape painting that would firstly be projected, and must then move. With India Inks and transparencies, I painted Vallotton’s Landscape with Trees. And with a series of blue and orange lighting gels, I could set the painting in motion, completing the sunset Vallotton had started for us. Those colors, too, struck me. He had frozen a sunset, that point in the day when light and color changes every second. Since then, I notice how the color of the sky transforms, how the blues and oranges and pinks warp and melt into each other.
Staring off into the works of Vallotton has changed the way I look at the world. It is that change in me that illustrates one of the many reasons art is important and necessary. As the new year brings new promises for self growth, I invite you to get lost in more art and just see if your perspective doesn’t change.
BMA Voices is an insider’s exploration of The Baltimore Museum of Art collection through the eyes of its curators, conservators, and registrars. Featuring a new object every day during the BMA’s 100 Day Celebration, the project will highlight some favorite, amusing, unusual, and obscure objects.