Camille Gavin: Former Bakersfield artist's work included in prestigious collection
| Monday, Dec 22 2008 08:01 PM
Last Updated Friday, Mar 27 2009 01:50 PM
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When George Van Dreal lived and taught in Bakersfield, he was known mainly as a watercolorist. But recently, as can be seen in his noted work "The Accusers," he has been experimenting with charcoal and ink. (Photo courtesy of George Van Dreal)
"The Accusers" by George Van Dreal was chosen by a jury of prominent curators for an exhibit in Atlanta at Mason Murer Fine Art illuminating the 60th anniversary of the Declaration of Human Rights, a document written in 1948 by the General Assembly of the United Nations. (Photo courtesy of George Van Dreal)
On this Christmas Day I am reminded of a biblical phrase often heard at this time of year: “Peace on earth and good will toward men.” What spurred the thought was an e-mail I received from former Bakersfield resident George Van Dreal, who now lives in San Jose.
His message concerns his painting “The Accusers,” which was chosen by a jury of prominent curators for an exhibit in Atlanta that opened on Dec. 10 at Mason Murer Fine Art. Earlier this year the same painting was accepted for “Ink and Clay Competition 34” at Cal Poly Pomona’s Kellogg Art Museum.
The purpose of the Atlanta show was to illuminate the 60th anniversary of the Declaration of Human Rights, a document written in 1948 by the then-fledgling General Assembly of the United Nations.
I wasn’t familiar with the wording of the declaration so I looked it up on the Internet. It’s a brief document and a compelling one, especially in a year as turbulent as this one has been. And even though it’s written in more expansive language, it says much the same thing as the New Testament passage written centuries ago.
The declaration’s preamble begins by saying “the recognition of the inherent dignity and of the equal and inalienable rights of all members of the human family is the foundation of freedom, justice and peace in the world.”
When Van Dreal lived and taught here, he was known mainly as a watercolorist. But recently, as can be seen in “The Accusers,” he has been experimenting with charcoal and ink. His skill at composition is still evident but the subject matter is very different.
“Much of the change in my art has resulted from my recent travels and own personal growth in my faith, as well as a more global reflection on the world,” he said. “I believe my art has taken on a greater sense of realism which focuses largely on the emotional aspect of a scene rather than simply its visual appeal.”
True, the finely detailed painting with its heap of twisted, skeletal figures is not a pleasant sight and its message is painful. Yet that’s exactly what Van Dreal intended.
In a statement accompanying the work, he explains: “In ‘The Accusers’ the confluence of history and annihilation rage for a place in memory. The subject matter eradicates color and begs for clear definition in black and white. Holocaust, ethnic cleansing, purge — voices of the silenced and marginalized stare at the living and demand remembrance.”
‘HIGHWAY 99’ ART EXHIBIT
If you’re looking for a way to relax this weekend, I suggest taking an hour or two to visit the Bakersfield Museum of Art, 1930 R St.
Unlike a lot of public places, it’s open its usual hours during the holidays, from 10 a.m. to 4 p.m. Friday and Saturday, and noon to 4 p.m. Sunday.
The “Harlem Renaissance” collection has been getting most of the attention — as well it should. But you also might want to take a look at “Highway 99,” a series of paintings by William Wray.
Wray, who lives in Sierra Madre, started out as an animator, illustrator and comic book artist, and is known for his work for MAD magazine. In recent years, however, he’s devoted himself to fine art.
This exhibit focuses on scenes we’ve all seen as we traversed what has been called California’s Main Street — oil wells, silos, water towers, junkyards.
One in particular is purely Bakersfield. It’s titled “The Silver Fox,” which, in its heyday was referred to as a cocktail lounge. A lonely sentinel, it still stands at 702 18th St.
Wray has referred to his style of painting as “dirty art” and it does look a bit muddy. Even so, “99”— a 24-by-48-inch oil on wood and the largest painting in the collection — shows a clean, clear stretch of pavement disappearing into the horizon. And that pretty well sums up the idea he means to convey in all the other pieces.
