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Wyeth: Works
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Wyeth’s depictions of Nureyev present an opportunity to explore the importance of observation skills in viewing and creating works of art. Download the step-by-step guide to taking a visual inventory and practice reading the artworks. Or, explore the idea of dance as visual movement-How is the essence of dance captured and conveyed through drawing?
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Christina’s World (1948), a tempera owned by the Museum of Modern Art, has a haunting appeal and broad symbolism that account largely for its having become probably Wyeth’s most popular work. Christina---whose crippled condition, like the peeling wallpaper of a Wyeth interior, does not immediately engage the viewer’s attention---drags herself through a blueberry field toward her distant house. Only her pink dream relieves the bleakness of the landscape. Wyeth’s tender, subtle portraits, Christina Olson (1947), Miss Olson (1952), and Anna Christina (1967), as Mary Rose Beaumont pointed out, make it clear that "Christina is not the eager, young yearning woman of Christina’s World, but an ugly, hideously crippled middle-aged woman, whose quality of mind Wyeth admired to the point where ugliness is transcended in the loving truth of his portrayal."
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The eponymous "Helga" Testorf is a German immigrant whose family works for Karl Kuerner, the neighbor whose farm and face Wyeth made the subjects of a great many of his works during the 1960s and 1970s. When Wyeth first sketched Helga in 1971, she was 38 years old.
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