John Wilde

John Wilde (December 12, 1919 – March 9, 2006) was an American painter, draughtsman, and printmaker from Wisconsin. He spent the majority of his life in the state and taught at the University of Wisconsin–Madison for over 35 years. Wilde is often associated with the Magic Realist and Surrealist art movements in the United States. His work frequently featured self-portraits set within fantastical, imaginative landscapes.

Early influences

John Henry Wilde was born in Milwaukee, Wisconsin, on December 12, 1919, the youngest of the three children of Emil (1879–1949) and Mathilda Wilde (1884–1970). One of John's older brothers, Leslie (1909–1983), a dentist, would pursue a parallel career in the fine arts, turning to printmaking.

As a youth, Wilde met fellow Milwaukeean Karl Priebe (1914–1976), who would later become a colleague in art and lifelong friend. While in high school, they both visited the Milwaukee studios of painters Santos Zingale and Alfred Sessler, upon which Wilde realized that his talent for drawing could lead to a viable career. A short time later, he began to study informally with Milwaukee painter Paul Lewis Clemens (1911–1992).

While a student at the University of Wisconsin–Madison from 1938 to 1942, Wilde met the artist Marshall Glasier (1902–1989). Though Glasier was not connected with the university, the regular salons he hosted at his parents' home became a gathering for students, faculty, and art aficionados in Madison, and Wilde considered these occurrences to be "a kind of university within a university." Glazier and the young artists in his circle rejected the American Regionalist painting of the day, exemplified by the work of John Steuart Curry, the artist-in-residence at the University of Wisconsin from 1936 to 1946.Krajewski, 1998 They coalesced into a loosely organized group that included Glasier, Wilde, Priebe, Sylvia Fein (1919–2024), Dudley Huppler (1917–1988), and Gertrude Abercrombie (1909–1977). The group of friends often met at Priebe's studio in Milwaukee and frequented the Chicago home of Abercrombie.

Another influence on Wilde's early career was art professor James S. Watrous (1908–1999). A draughtsman, muralist, mosaicist and art historian, Watrous taught many techniques, including silverpoint, which Wilde would adopt.

Wartime journal

Wilde received his Bachelor of Science degree in 1942 and was drafted into the US Army shortly thereafter. He served with the Infantry Air Force and the Office of Strategic Services (OSS). As an artist, he was assigned to produce drawings for the army venereal disease program and maps and terrain models for intelligence. During this time, he kept a private journal that he filled with self-portraits, fantastic and macabre scenes and written reflections on the Army, an institution he despised for its regimentation and bureaucracy. In the journal's pictures and words, Wilde also documented his increasing feeling of hopelessness as his term of service stretched into years. In spite of his deepening depression, Wilde saw broader artistic possibilities in some of his journal sketches, working them up into larger drawings that he mailed to Dudley Huppler in Wisconsin. According to art historian Robert Cozzolino, in his later career Wilde returned "dozens of times" to the unsettling themes and situations that he first explored in his wartime journal. Upon discharge from the Army in 1946, Wilde returned to the University of Wisconsin–Madison where he studied art history, graduating with a Master of Science from the School of Education. His thesis was ostensibly about the Surrealist artist Max Ernst, but Wilde later admitted that the thesis was also a statement of protest against Abstract Expressionism.

Mature work

Drawing was Wilde's boyhood means of visual expression and it remained the foundation on which the works of his sixty-year professional career were built. Wilde's self-described "deep instinctive love of drawing" was a source of puzzlement to him; as a child he was not encouraged in it, nor could he see anything in his social or cultural environment that led to it. He did, however, have a deep interest in and empathy for nature and its cycle of generation, growth, decay and death. Vegetables, plants and flowers, both wild and cultivated, and animals, especially birds, are the subjects of many of his paintings and drawings. And, more than all, he always returned to the human form, whether invoking the whimsy of surreal situations or regaling in the complex and graceful discipline of fine anatomical drawing, of which Wilde is virtually nonpareil in his century. Often cryptic notes are included in drawings, from pseudo-Latin inscriptions of the early years to the intentionally didactic ten "Talking Drawings," of the early seventies, in which extensive monologues dominate the page, outlining solitary representations of himself performing daily chores such as raking ( Madison Art Center). The human beings that enter his paintings are often nude, and often of the female sex. Writer, Donna Gold described Wilde's tendency to marry nature to the human figure in improbable ways in his painting, "To Make Strawberry Jam":

"Wilde… paints an odalisque wrapped in tendrils of a strawberry plant, echoing Botticelli's 'The Birth of Venus', veiled in her golden hair. A strawberry is what covers Wilde's woman, but the strawberry she hugs to her breast is huge, half the size of her torso."

The reference to the Renaissance painter, Botticelli, is apt. The art historical painting and drawing techniques that Wilde learned in James Watrous's seminars give his work the look of something from fifteenth century Italy, and is further reflected in his lifelong admiration for the drawing discipline behind the works of North European Renaissance artists. The " Death and the Maiden" themes derived from the latter recur frequently through the seven decades of his output, as do highly crafted, reverent renderings of natural objects. But, according to curator Sara Krajewski,

"Surrealism best enables ildeto represent the mind's activity and the pervasive forces of sex and death. Bones, dead animals and scenes of decay serve as ''memento mori,'' symbolic reminders of one's mortality. Naked women, or strangely mutated women-creatures, populate deep, dream-like landscapes. Frequently Wilde paints himself into a scene, as if to acknowledge that this is a world where he confronts his own fears and desires."

A particularly notable example of this self ''mise en scene'' is the 1983-4, 9 1/2 ft long "The Great Autobiographical Silverpoint Drawing," in the Chicago Art Institute. It depicts the usual Wilde-proxy now nude and triple-eyed, looking out at the viewer in front of rows of familiar figures, with the detritus of a life long-lived on one side and an immense Oak Tree on the other. Though Wilde excels in small, intimate paintings and silver points, this work, meticulously drawn in the unforgiving silver point medium, is quite possibly the largest silver point ever made.

Another large silver point with Wilde amidst a ''memento mori'' landscape was his "''Muss Es Sein''" (1979–81, operative word "was"). Though quite large in itself, it is only about a third of the size of the AIC leviathan. The work depicts the semi-nude Wilde proxy in its familiar harlequin tights and a nude female sitting mid stage, almost lost amidst an entire field of animal skulls. They are looking away from the viewer at a double moon. Also extremely meticulously drawn in silver point, the work was photographed and then painted over with Wilde's typical cool transparent oil washes. The greenish gray finale is in the McClain Collection of the Chazen Museum on the UW campus, gift of William McClain.

An earlier example of Wilde putting himself into his painting is "Wisconsin Wildeworld," subtitled "''Provincia, Naturlica and Classicum''" in the collection of the Milwaukee Art Museum (MAM). The painting shows the artist, his turned back toward the viewer, gazing into the distance to his right at a fanciful, Renaissance-inspired landscape. The artist's right arm is extended to measure the pointy-topped mountains ahead of him; in his left arm he cradles a drawing board. Classical ruins jut into the scene from the picture's right edge. It seems perfectly normal to see the small figures of naked women cavorting among them. The artist's figure forms a sort of magical border between this world and a more mundane reality. To his proxy's left, Wilde laid out the staid lines of a small town residential avenue, complete with elderly frame houses and a tree-lined walk along which fully clothed Midwesterners stroll.

In fact, his 1995 "Wildeworld Revisited," another one of the most important examples of self inclusion, is a match/comparison piece to the MAM "Wisconsin Wildeworld" described above. Maintaining the same dimensions, the scenario is even more advanced in its state of destruction, with warmer colors in a more barren scene, a cooler toned, graying, semi nude, aged Wilde, not measuring the world stage confidently as before, but pointing tentatively to a dark, cloudy, world-suffocating brown-orange vortex in the sky. He now holds no drawing board, nor sighting tool, but is just looking and pointing with his back turned toward us. Most fortuitously this work has recently also been acquired by the MAM, to join its forerunner.

Such "Wilde World" or "Wilde View" depictions recur frequently in his work. Other recurrent themes include complex female-populated nocturnal festivities (see Sanseverini discussion below), seasonal still-lives, polymorphous "Ladybirds," and curious entanglements of natural botanical forms with female nudes, such as Gold exemplifies above. His interest in death and decay was continued in the mid eighties with a series of delicately, naturalistically drawn dead animals found around his rural retreat, entitled "R.O.A.E.D" (Remnants of An Early Death).

More recently, primarily from the eighties and nineties, his occasional "Reconsidereds" and related retrospective compositions are paintings revisiting specific works from his earlier decades, especially sketchbooks and drawings for the forties. And there are many examples taken from originals in his sketchbooks of the forties, many of the latter reproduced in the 1984 Hamady publication noted below ("44 Wilde 1944"). Several large silverpoints gathering multiple heads from the wartime sketchbooks and multiple nudes from throughout his career were also executed around the turn of the century. And his large 2004 painting (60 in wide), "Myself in 1944 contemplating the Following 60 Years," collects many of these wartime images on a table under the gaze of a large headed Wilde leaning on the table edge, beneath a bright, cirrus-clouded, blue sky. Another retrospective example is the 1999 oil "Suggestions for Hot Weather Entertainment III," a remake of the 1947 drawing with watercolor "Further Suggestions for Hot Weather Entertainment: or the Relief of National Boredom or a Conclusive Argument Against Long Hair."

One of Wilde's most powerful revisited themes relates loosely to Gina, Duchess of Sanseverina, in Stendhal's " Charterhouse of Parma." His Sanseverinis (sic) began with such early masterpieces as "Further Festivities at the Contessa Sanseverini's" (1950–51) and "More Festivities at the Palazzo Sanaeverini" (1951–52). Placed in Classical/Renaissance settings, these cavorting-female celebrations are meticulously rendered, bright, sensuous, and surrealistically optimistic. But the 1966 revisit, "Nighttime Festivities at the Contessa Sanseverini's," not only includes more densely collected, ashen-toned, less mobile female nudes, but also predatory dogs among them and victims' eviscerated corpses, all before an eerily nocturnal, sylvan setting. In the nineties, he revisits Sanseverini again. "Still Further Festivities at the Contessa Sanseverini's" (1991) now is more ethereal with even more figures which now are atmospherically backlit, mildly turning or dancing, on a plain littered with beach balls instead of vicious canines, all while eight graceful ladies cavort or float in the sunrise sky above. Finally, "A Grand Finale at the Contessa Severini's" (1996–97) presents a universal, aerial view of even more mostly female figures and animals in an extensive landscape of plain, sea, and mountains, panning from warm sunny left to cool moonlit right, in a canvass fully eight feet wide. In the evening-lit lower right two purplish Wilde figures with revolvers, related to works from the forties, deliberate between confusion and suicide. Myriads of animals, bimorphous figures, and toys and furnishings, many also reminiscent of earlier Wilde creations, intermingle amidst the female nudes. A plethora of sketches and drawings on charcoal paper related to the Sansavorini paintings of the nineties hale from this late-career revisit, some of which appear from time to time on the market.

In keeping with his historical orientation in teaching (see below), Wilde also painted homages to favorite artists from the past in his last couple decades, especially in the middle eighties; artists such as Piero di Cosimo, particularly his " Perseus Rescuing Andromeda," and works of the Englishman Richard Dadd, Aachen-born Alfred Rethal and other Germans, Otto Runge, Otto Dix, and Max Ernst, Switzerland's Arnold Böcklin, and friends Julia Thecla and Gertrude Abercrombie (1985–87). His four piece "An Homage to Lorenzo Lotto" (I-IV), 1985, is based on Lotto's inscrutable " Allegory of Virtue and Vice" (1505) in the Kress Collection of the National Gallery in DC. Another group of admirers was the Pre Raphaelite Brethren, Wilde referencing them by name ("PRB") in drawings from mid career. In an even more specific homage, his 1998 painting "My Art Targets," presents facsimile signatures of 38 favorite artists on a light green background, all around a smallish, wobbly, red, white, and blue heart. Citations include Durer, Uccello, Urs Graf, Baldung Gruen, Altdorfer, Brueghel, Watteau, Ingres, Messonnier (sic), Eakins, Homer, Cezanne, Puvis, Dix, Di Chirico, and Ernst, among 22 others. Though the whole may mark expression of respect as much as acknowledgment of influence, many of the referents obviously cut both ways.

Teaching

Wilde taught drawing at the University of Wisconsin–Madison from 1948 until his retirement in 1982 as the Alfred Sessler Distinguished Professor of Art, a title he had been awarded in 1968. He was one of a number of artists who began to teach at the University after WWII, including printmakers Alfred Sessler (1909–1963) and Warrington Colescott (1921–2018), painter Gibson Byrd (1923–2002), and glass artist Harvey Littleton (1922–2013).

Wilde's teaching methods included exercises like life drawing and critical writing, which appeared traditional to some of his fellow academics. Some of his notable students included book illustrator Nancy Ekholm Burkert (born 1933), multimedia artist Bruce Nauman (born 1941), and painter and film director Wynn Chamberlain (1927–2014)

In October 1989, seven years into his retirement, Wilde headed a group exhibit at Garver Gallery, Madison, with 17 of his former students. He designed the exhibition poster based on a silver point print depicting each participant as an apple-head appearing in the horizon. Both the poster and show provided helped cement Wilde's educational legacy.

Print collaborations

Though he considered that printmaking lacked the subtlety of drawing, Wilde was eventually convinced by a number of colleagues to experiment with different techniques and media late in his career. His first prints were etchings and lithographs created between 1974 and 1977 with Stephen J. Weitz, a graduate student at the University of Wisconsin–Madison at the time.

Among Wilde's important collaborators were book artist Walter Hamady, a fellow faculty member at the university, with whom he published several books; Warrington Colescott, whose publishing house in Hollandale, Wisconsin, issued Wilde's series ''7 Kiefers'' and ''8 Russets''; Harvey Littleton, whose studios in Spruce Pine, North Carolina, published three Wilde vitreographs: ''The Kiss'' (1996), ''Portrait of Joan'' (1996), and ''Three Trees'' (1998); Tandem Press at the University of Wisconsin–Madison, for ''Wildeview II'' (1985); and Andrew Balkin, with whom Wilde worked on an aquatint and Dry point design for the ''Wisconsin Sesquicentennial Portfolio'' (2001).

Honors

Wilde was elected to the Wisconsin Academy of Sciences and Letters in 1982 and to the National Academy of Design in New York City in 1993.Becker and Escalante, 2006 He was also honored as the Alfred Sessler Distinguished Professor of Art, University of Wisconsin Art Department.

Public collections

Wilde's artwork is in the collections of museums throughout the United States, including the Art Institute of Chicago, the Carnegie Museum of Art in Pittsburgh, Pennsylvania, Pennsylvania Academy of Fine Arts in Philadelphia, Santa Barbara Museum of Art, Smithsonian American Art Museum, Walker Art Center in Minneapolis and the Whitney Museum of American Art in New York. In his home state of Wisconsin, Wilde is represented by work in many collections, including the Madison Museum of Contemporary Art, the Chazen Museum of Art at the University of Wisconsin–Madison, the Milwaukee Art Museum, the Racine Art Museum, and the Leigh Yawkey Woodson Art Museum in Wausau, Wisconsin.

Personal

John Wilde and his wife Helen had two children, Jonathan and Phoebe Wilde. After Helen's death in 1966, Wilde married the former Shirley Grilley. His stepchildren are Robert, Dorian and Rinalda Grilley. He lived in or near Evansville and Cooksville, Rock County, Wisconsin most of his adult life. The Tory Folliard Gallery in Milwaukee has represented John Wilde since 1993 and his estate since 2015.

Notes

: Pronunciation: , ''WILL-dee''

References

Bibliography

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{{DEFAULTSORT:Wilde, John
1919 births
2006 deaths
20th-century American painters
American male painters
21st-century American painters
Artists from Milwaukee
Trompe-l'œil artists
University of Wisconsin–Madison College of Letters and Science alumni
People from Evansville, Wisconsin
20th-century American male artists
21st-century American male artists
Painters from Wisconsin