09 August 2018

Sally Michel: Every Color Loves Every Color

Have you ever looked at  a Matisse or a Derain and noticed how colors in their paintings seem to compete with each for the viewer's attention?  It was for this characteristic that a critic derisively dubbed them les fauves (the wild beasts) at an exhibition in Paris in 1905. Something  different is going on in the paintings of Sally Michel.  Her blocks of color are definitely modern yet coexist in a state of harmony, so are her lack of  conventional modeling and chiaroscuro.  Even without them, figures in her paintings are lively and full of personality.   Mane flying, legs practically dancing off the ground, head turned toward the young girl in the cart, Harness Racing captures a moment of shared joy in movement on a dusty circular track. Just so, we feel the Guitar Player lean into her instrument.  Knowledge stored in the hand has been rehearsed in the mind.

Sally Michel was born in Brooklyn in 1902 and died in Manhattan in 2003.  She studied at the Art Students' League, easily becoming an accomplished painter.  At the age of twenty-two she met Milton Avery; he was thirty-nine and also struggling to make his way as an artist.  Two years later  they married and Michel (she always exhibited her work under her own name) worked as an illustrator to support her husband, giving him the time and sustenance that enabled him to mature as an artist. 

They met in 1924 in Gloucester at a summer artists' retreat in Gloucester, Massachusetts made popular by its native Fitz Hugh Lane (1804-1865) whose luminist paintings were a revelation to mid-nineteenth century Americanartists.   First Winslow Homer arrived in 1873, and then John Henry Twatchman and Childe Hassam, and by the time  John Sloan arrived in 1914, he remarked, exaggerating only slightly,  "There was an artist's shadows beside every cow in Gloucester, and the cows themselves were dying from eating paint rags."  Nevertheless, Sloan spent his five most productive years there and convinced his friend Stuart Davis to come too.

In the fall Michel  returned to New York and soon Avery moved there from Hartford.  Fearful that the Michels would look askance at their twenty-two year old daughter bringing home a thirty-nine year old man, Avery decided to shave a few years off his age.  The two married in 1926 and soon after critics were noticing a new freshness in Avery's work, as she and her painting began to influence him.

Michel was known for her optimism, her wit, and her ready laugh;  it was she who introduced the element of fun into Avery's work.  We know that she chose the titles for almost all of his paintings. The two often painted side by side in the living room of their apartment but Avery's increasingly public career credited him alone for the "Avery style." Without Sally Michel, Milton Avery might have continued on the conservative path he had started down, a mild version of second generation New England impressionism.  Her Field in a Hilly Landscape Michel rearranges that landscape, mixing perspective illusions  to create a strangely realistic yet trompe-oeil world.

1. Sally Michel - Autumn Fantasy, 1957, D. Wigmore Fine Art, NYC.
2. Sally Michel - Harness Racing, 1977, D. Wigmore Fine Art, NYC.
3. Sally Michel - Guitar Player, no date given, D. Wigmore Fine Art, NYC.
4. Sally Michel - Field in a Hilly Landscape, no date given, D. Wigmore Fine Art, NYC.
5. Sally Michel - Wooded Landscape, no date given, D. Wigmore Fine Art, NYC.


Tania said...

I don't know this artist and what you show here pleases me a lot. Thanks ! Sally Michel, je retiens son nom. "Every Color Loves Every Color", yes.

Jane said...

Tania, so many women who are artists married to other artists get overlooked, it is definitely a pattern of exclusion.
Here is an article about her exhibition from the New York Times: