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John Wilde (December 12, 1919 – March 9, 2006) was an American painter, Drawing, 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 realism and Surrealism art movements in the United States. His work frequently featured set within fantastical, imaginative landscapes.
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). (1984). 9780932900081, Elvehjem Museum of Art. ISBN 9780932900081
Wilde enrolled in the University of Wisconsin–Madison in 1938, where he was influenced by the teachings of art historian Oskar Hagen on early Renaissance art. During his years as a student, Wilde also met local artist Marshall Glasier (1902–1989). Glasier's regular salons, 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 Watrous (1908–1999). A draughtsman, Mural, Mosaic and Art history, Watrous taught many techniques, including silverpoint, which Wilde would adopt as one of his media of choice.
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.
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 dealt with Surrealism artist Max Ernst, but Wilde later admitted that the thesis was also a statement against Abstract Expressionism.
"Wilde… paints an odalisque wrapped in tendrils of a strawberry plant, echoing Botticelli '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 art painter, Botticelli, is apt. The art historical painting and drawing techniques that Wilde learned in James Watrous 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 Northern Europe 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 Wilde to 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 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 Sketchbook 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 Dog 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 ball 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 Toy 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 English people Richard Dadd, Aachen-born Alfred Rethel and other Germans, Otto Runge, Otto Dix, and Max Ernst, Switzerland 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, Paolo Uccello, Urs Graf, Baldung Gruen, Altdorfer, Brueghel family, Antoine Watteau, Ingres, Messonnier (sic), Thomas 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.
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.
Among Wilde's important collaborators were book artist Walter Hamady, a fellow faculty member at the university, with whom he published several books between 1971 and 2001; 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 vitreography: 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 drypoint design for the Wisconsin Sesquicentennial Portfolio (2001).
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