Edward Lifson's wedding party ???

    How surprised I was to read that title on Lynn Becker's blog. I didn't know I'd set a date. But Lynn was providing smart, penetrating writing about photos and commentary I recently posted after I stumbled upon a wedding couple at the new Modern Wing of the Art Institute of Chicago.

    Lynn likes this one -

    He writes,
    It's a painterly composition, the bride posed with her legs extended, bare feet curled, over the lap of a groom who's looking in the opposite direction, almost as if he were unaware (unable to handle?) her relaxed but assertively sensual presence, accented by the cast-off sandals criss-crossed atop each other on the ground to her left.
    ... The supposed intimacy is shattered by the presence of two more figures, photographers pairing off with their subjects - male, male to the left, female, female to the right, capturing the ceremonial exhibitionism of the occasion.

    Thank you for making me realize its rhyme.



    Lynn writes with equal acumen of other shots; he sees more than I, and I greatly appreciate that. But we may disagree on the effects of the very white Griffin Court of the Modern Wing. Lynn writes,
    Indeed, the groom seems so detached in most of these shots that you fear for the future of the relationship, until you get to another stunning shot set against a seemingly infinite white wall.

    You have to click on the photograph to view it at a resolution where you can actually see it. I've cropped a bit here for emphasis.


    Edward sees this as their purity reflected "by the pure white room." I see it as a cautionary tale of how Piano's overwhelming whiteness threatens to overpower everything it comes into contact with.
    The backstory I see here is that the overwhelming nothingness all around them finally turns the two lovers back in to each other. It's them against the world. The groom is still standing there stiffly, arms folded, legs planted far apart as if he's expecting to be toppled at any moment, but he's smiling, completely softened by the way his bride leans in to him. The geometry is wondrous. The line of her chin extends to the sloping of his left shoulder; the line of the slant of the groom's head extends down the back of the bride's dress. The fullness of her dress provides the secure grounding that the spareness of the triangular perch of his pants legs does not. The richness of her bare arms, the gentle touch of her hand that seems to be going directly to his heart - you get the impression this marriage may turn out OK after all.
    1. That's excellent writing.
    2. I want to know if he's right; and what this couple thinks!

    Roy Lichtenstein
    Art Institute of Chicago


    Anyone know the lovely couple?


    Bottom image: Edouard Manet, 1863, Le déjeuner sur l'herbe, Musee d'Orsay
    Source URL: http://ecleticsergio.blogspot.com/2009/07/edward-lifson-wedding-party.html
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