Three Figures 1916

Curator: Standing before us is Thomas Hart Benton’s "Three Figures," painted in 1916. Editor: Wow, talk about raw energy. The colors are practically screaming, all tangled bodies and stormy hues. It feels more like a primal scream than a painting! Curator: Benton created this oil painting early in his career. He was grappling with European modernism, particularly Expressionism, before forging his own distinct Regionalist style. It's quite a departure from his later, more narrative works. Editor: Right? I'm getting a sense of internal struggle here, perhaps even torment. The composition feels claustrophobic, figures packed together with very little light... The one rendered in red, especially, just exudes passion or pain. What are they even doing? Curator: The figures are embracing or wrestling, perhaps both. Benton’s early work was influenced by classical and mythological themes, even while employing a very modern style. One might consider these figures symbolic of internal psychological forces in conflict. Editor: It is interesting how he depicts maleness without glorification. It almost feels anti-heroic, a departure from conventional heroic images of men we see throughout art history. Curator: Absolutely, and it shows Benton already grappling with the narratives he’d later construct about American identity. There's a powerful sense of vulnerability here, even a challenge to the idea of the strong, stoic man. Editor: This picture is a visceral punch, especially knowing what Benton's name later became synonymous with: wholesome depictions of the rural Midwest. "Three Figures" is so complex. It doesn't fit neatly into boxes. And sometimes, it is that unexpected clash of expectations that keeps one hooked, no? Curator: Precisely. It challenges us to reconsider labels and the stories we tell about artists and art history, reminding us that artistic journeys are seldom linear. Editor: It definitely gives you a new perspective, a peek into Benton’s artistic chrysalis, before his iconic, distinct style took shape.