Andrew Wyeth

Painting has always been a sort of mystery to me. I enjoy looking, but I've never had enough dedication to really try it for myself.

Something about the palette he paints with draws me to Wyeth, they are beautifully oneiric. I know that many contemporary art aficionados are quickly dismissive, given that in a time of modernism he refused to be modern.


His dissent is in good company. Jan Tschichold—in the midst of the '60s typographic revolution—began work on Sabon, a cultural vestige of another era whose serifs had more to do with Janson than ever they would Helvetica.


Yet, Wyeth and Tschichold aren't simply preserving the past the way, say, Edward S. Curtis did with salvage ethnography. Rather, they show there is still room left for discovery in what we think we know so well.