|Albert Pinkham Ryder, Moonlit Cove, 1890|
There are many reasons for Ryder's low profile, not the least of which is that his work has imploded over time; his already scant number of paintings have seriously deteriorated because of his heedlessness to sound oil painting technique. Living like a hermit in a tiny, squalid New York apartment through the late 1800s, Ryder would evolve his paintings over decades, heaping layer upon wet layer on his canvases and liberally using bitumen (a distant cousin of road tar, apparently), which, apparently, puckers, warps, and discolors over time.
|Willem de Kooning, Untitled, 1948|
|Jackson Pollock, Silver over Black, White, Yellow, and Red, 1948|
and subsequent colorists and abstractionists such as Frankenthaler,
|Hellen Frankenthaler, Madame Matisse, 1983|
|Morris Lewis, Blue Veil, 1958|
I see this as an America artistic and spiritual heritage, albeit one that, judging from what I've seen of late, contemporary and especially conceptual art since Pop and Duchamp mostly ignores.
|Albert Pinkham Ryder, Siegfried and the Rhine Maidens, 1888-91|
|Bernini, The Rape of Proserpina, 1622|
|Rubens, Allegory on the Blessings of Peace, 1630|
|Delacroix, Sardanoupolus, 1827|
|J.M.W. Turner, Snowstorm, Steamboat off a Harbor, 1842|