“Of Yellow was the outer Sky,” writes nineteenth-century Amherst-born poet Emily Dickinson, “In Yellower Yellow hewn / Till Saffron in Vermilion slid / Whose seam could not be shewn.” In this etching, one finds the connotation of “hewn” in the way two thin streaks of blue and yellow mirror each other over the mountains, as if indicating that the yellow sky is raggedly dissolving into the approaching night clouds. The window faces west; the table is already sunk in the hues of “Saffron” and “Vermillion.” Colorful postcards depicting well-known artworks on the tabletop and the flowering orchid curving over the scene aesthetically complement the distant sky. Although indicative of Oxman’s customary fondness for strictly structured shapes and her lack of shadows, this mountainous vista nevertheless betrays a pensive depth and hints at a great expanse beyond the confines of the room and the frame of the window.
Daria Chernysheva, Class of 2016
color theory; flowers; interiors; landscapes; mountains; nature; perspective; still lifes
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