In her first New York survey, virtuosic painter Cecily Brown makes everything old new again:
. Collection of the Philadelphia Museum of Art.
For her depictions, Brown took inspiration from Edvard Munch’s 1894 version of the pair, which seems to show the figures dancing. In preparing for the exhibition, Alteveer had texted an image of the Munch work as a possible source; Brown confirmed by sending a photo of a years-old sketch she’d made of the Norwegian artist’s composition.
At other times, Brown’s references for her depictions of Death as a lover of sorts reach even further back. Inone can glean the influence of Renaissance artist Hans Baldung Grien’s plentiful—and freakish—depictions of.
Amid this tumult, a table of revelers, on the lower right of the painting, spring from their seats in terror, leaving their dinner table strewn with food and the games they’d been playing.
The living body’s proximity to death is one of Brown’s central preoccupations, and decadent tablescapes offer one of the most artistically luxurious ways to approach such themes—as Alteveer described to me, “Still lifes are a way for an artist to show off a little bit, to revel in the plentitude that they offer, and then also to explore color.”
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