Charley Harper had an alternative way of looking at nature. His serigraphs were large expanses of rich color, which gave the viewer a very different perspective on the animal kingdom. A conservationist, as well as an artist, Harper revealed the unique aspects of his wildlife subjects through highly stylized geometric reduction which he coined “minimal realism.” There was a rare and delightful playfulness in Harper’s artwork. There was also a graphic genius. Harper said, “When I look at a wildlife or nature subject, I don’t see feathers, fur, scapulars, or tail coverts—none of that. I see exciting shapes, color combinations, patterns, textures, fascinating behavior, and endless possibilities for making interesting pictures. I regard the picture as an ecosystem in which all the elements are interrelated, interdependent, perfectly balanced, without trimming or unutilized parts; and herein lies the lure of painting: in a world of chaos, the picture is one small rectangle in which the artist can create an ordered universe. Wildlife art has been dominated by realism, but I have chosen to do it differently because I think flat, hard-edged, and simple.” Charley Harper’s unique minimalist approach is unmistakable.
2’6″ x 7’. Hand-tufted wool. Made in India.
Lo, the English Sparrow, weed on the wing, detested as the dandelion, stigmatized like the starling, carried captive to these shores only to be persecuted for prospering and proliferating. Consider his cheery chatter upon the winter wind, his undaunted demeanor in the presence of prejudice, his self-sufficient search for sustenance among his critics’ crumbs. Behold an enterprising and successful English sparrow about to feather his nest with the pride of the peacock.