Georg Friedrich Kersting, German
Dramatic Evidence of Loss of Productivity Since Artist Got New Wide-Screen TV, 1811
Oil on canvas
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Artist info is pointed to in my comment at another blog entry.
/// When he worked, painting, Friedrich would sit
in his studio, canvas well lit
through the window by sun.
When the painting is done,
he stands up and back, critiquing it.
/// And by contrast Herr Kersting, who made
these two paintings of Friedrich, displayed
up above, side-by-side,
never judgment applied.
He cared mainly about being paid.
/// These two works with the same name begin
on the left. (There’s a door to come in.)
Done in Hamburg, he’s seated.
At right, work is completed.
Painted first, it’s the one from Berlin.
/// What’s called “After” was painted before
he broke through that wall forming a door.
The increased ventilation
then improved concentration.
He could sit and stop pacing the floor.
/// But, the truth is, there’s not much to say
‘bout the two “Masterpieces” today.
Variations, they seem,
on the same boring theme:
“Well-known painter in his atelier.”
/// He found landscapes a terrible bore
and decided to paint a large door
on the wall to his rear,
(and it looks real from here),
in the painting that’s labeled “BEFORE.”
/// The trompe l’oeil door glowed with light
every sunset, but looked fake at night.
He repainted the room
to help brighten the gloom
in the “AFTER” oil up on the right.
/// His large canvases never did sell,
yet at house painting he could excel.
All his oils were inferior,
but a building’s interior
he could cover with two coats quite well.
/// The artist was told by his sweetie,
“Just as Gauguin would thrive in Tahiti,
you must find your true calling.”
His “fine art” was appalling,
but he’s tops overpainting grafitti.
/// Kersting painted these rooms on a whim,
but his nudes were what interested him.
You can probably see ‘em
in some German museum.
Many views of a model named Jim.