Brewing Storm, Monhegan 1950

Editor: So, here we have Rockwell Kent's "Brewing Storm, Monhegan," created in 1950. It's an oil painting, and immediately, the stark contrast between the dark, looming cliffs and the churning ocean catches my eye. What's your take on it? Curator: I see a fascinating dialogue between the human struggle and the overwhelming force of nature. The oil paint, thickly applied in areas, gives a materiality to the rocks, almost a sense of resistance against the encroaching sea. Consider the historical context – 1950. Post-war, there's a feeling of rebuilding, and the materiality of this painting echoes that. The pigment itself, sourced and processed, represents labor and industry. Does the painting evoke similar ideas for you? Editor: Definitely! I hadn't thought about the oil paint itself as a material representative of that era, but it makes perfect sense. It’s almost as if the artist is emphasizing the physical world and humanity's relationship with it through the sheer density of the paint. The dark colours as well give it weight. Curator: Exactly! It's not just a picturesque landscape. Kent is using the medium to explore the socio-economic landscape. Look at the scale – is it sublime, meant to overwhelm the viewer with nature's power, or something else? Editor: I think it’s meant to do both. There’s a grandeur but also a feeling of being grounded by the physical weight of the paint. Curator: And where does that weight come from? It is the product of human labour! Editor: Right. Thinking about the painting as an object produced through labour and materials definitely opens up a richer understanding of its meaning and place in art history. Thank you. Curator: Indeed, examining art through the lens of its material production provides a new layer to appreciate how human creativity interacts with a complex world.