Joan Eardley - Social Realist, Neo-Romantic or Abstract Expressionist? :: Visual Arts Paintings Art

Joan Eardley - Social Realist, Neo-Romantic or Abstract Expressionist?In enquire others1 on their opinions of Joan Eardley the initial answer was usuallythe same that generally Joan Eardleys works argon concocted in a realiststyle. Though, each of my sources, after almost estimate and discussion,changed their minds during the course of the debate. However, I willattempt to define Eardleys work through personal opinion and analysisin the quest essay and will hopefully finish with a fuller mind and a more sound opinion of her work.There are real few published works on Eardley and therefore, limited judgments in print. This has turn out a great advantage in the answering ofthis question since my quality inspiration (evidently this shouldalways be the case) has been solely the works themselves. Inaddressing the definitions of the impairment in question, I came to theconclusion that Eardley did in fact employ a little of each genre inher paintings. Social Realism aims for the, .. .truthful, historicallyconcrete portrayal of reality in its revolutionary development... Italso shows idealised representations of heroic workers and soldiers,in a naturalistic style.2 In considering the latter bust of thisdefinition, it seems fitting to refer to Eardleys The Mixer Men of1944 Plate 1. This painting was exalt as a result of her job as a works assistant. The piece is full of gritty realism and istruthful in the sense that Eardley painted them through direct human racecontact. She slaps on the tack a vision of how she sees these menwhich is in this case from behind the plethoric figure. Thisviewpoint in reminiscent of Degas keyhole effect and possiblyreflects her bear on in the style and composition of thisimpressionistic artist.This notion of personal and human contact was very important forEardley throughout her career. She made clear that she thought thestory behind her sitter was just as important as the final outcome.The fact that she was painting real pictu res of real people is a keyfactor when looking at her paintings. She did not abide by what wasthought to be socially acceptable at the time. A prime example of thiswas her painting of friend, Angus Neil, entitled, Sleeping Nude of1954-5. Plate 2 This piece was shown at the annual exhibition of theGlasgow institute in 1955 and caused huge uproar. The very idea of awoman painting a male nude, and depicting him so blatantly and gaunt,was deemed unacceptable. The painting itself tells no lies andreflects no flattery on the sitter. The brushstrokes are reminiscentof Van Gogh and in the same way, express Eardleys mentality at the