PAIRINGS
What makes two works of art a pair?
There is the intentional pairing, as in formal, pendant portraits. Sometimes works are paired by their genre, or period, or by the subject matter. In this case, the pairings are perhaps a bit random, and are surely experimental!
These works from the Chapel Art Center's permanent collection have been paired by color, design, imagery, memory association, or simply by way of a spontaneous emotional connection. The intention is simple: to inspire thoughtfulness and reflection.
The thumbnails below offer detail glimpses of the pairings themselves. Click on a pairing thumbnail to travel to a larger view of the full works and to explore further.
THE WORKS
(by column, top to bottom)
Mabel May Woodward, Street Scene in Chester, Nova Scotia, oil on board, 20th century. (left)
Dorothea Greenbaum, David, cast bronze, 1930. (right)
Karl Drerup, Color Still Life Study, gouache on paper, 20th century. (left)
Louis Agazziz Fuertes, Blue Bird, gouache on field board, early 20th century. (right)
Giuseppe Cesare (called “Cavaliere d’Arpino”), The Annunciation, sanguine chalk on paper, 1597. (left)
Giovanni Francesco Barbieri (called “Guercino”), Study of a Woman with a Hand Held to Her Breast, brown ink and wash on laid paper, 1635. (right)
Eugenia Woolman, Untitled (Women Sewing), paper collage, mid-twentieth century. (left)
Cortia Kent, Figures of the Morning of Times, serigraph print, 1955. (right)
Omer Lassonde, Tetuan, Morocco, oil on canvas, 1960. (left)
Fairfield Porter, The Table, color lithograph, 1971. (right)
Édouard Vuillard, Couverture de l’album, color lithograph, 1899. (left)
Hans Erni, L’Arlequin, Swiss, color lithograph, 20th century. (right)
Charles Curtis Allen, Apple Blossoms, oil on board, 20th century. (left)
Charles Curtis Allen, Vermont Farm House, watercolor, 1930s. (right)
Charles Curtis Allen, Rustic View, oil on board, 1930s. (left)
Corita Kent, Daisies, Serigraph print, 1960. (right)
Elizabeth Withington, Three Children, gouache on paper, 20th century. (left)
William Lee-Hanky, Mother and Child, drypoint and etching, after 1920. (right)
Sandy Wadlington, Rain Over Ipswich, woodblock print, late 20th century. (left)
Robert Bauer, Adam I, Tempera on paper, 2009. (right)
Lauren Sansaricq, View from Boscobel, oil on board, 2011. (left)
James Abbott McNeill Whistler, Limehouse, lithotint on chine paper, 1878. (right)
“The intention is simple: to inspire thoughtfulness and reflection.”
