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Interview With Painter Joe Noderer, PT 1

Interview With Painter Joe Noderer, PT 1

I first met the painter Joe Noderer on Instagram -then, after a couple of years, on a Google Meets for this interview. Social media creates an environment where finding interesting artists is easier yet also may have you wading through a massive amount of less interesting art. Joe is one of the most interesting landscape painters of our day. An idiosyncratic painterly language, links to artists working long before him, and work untrammeled by judgement or environmental despair are key to this distinguished painter. Read on to find out how Joe came to practice painting near Pittsburgh, PA, how he forged his career early on, learn about his influences and what concerns him today.

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Interview With Painter Joe Noderer, PT 2

Interview With Painter Joe Noderer, PT 2

Earlier on I mentioned going to the Carnegie. There’s the Museum of Natural History and then the Museum of Art; they’re connected but also distinct. As a kid, I don’t remember going to the fine arts aspect, but I remember going to the natural history part quite a bit. Because, like any kid, I liked dinosaurs. Anything else there -the hall of minerals, the geologic stuff, the dioramas there, are out of sight. They are from the golden age of dioramas. Those contained worlds were very influential to me and that makes a lot of sense [when] looking at my work and that idea of a window.

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Interview With Painter Joe Noderer, PT 3

Interview With Painter Joe Noderer, PT 3

In your later, shall I say "bearded portraits,” I draw visual connections ranging from Ole Peter Hansen Balling's John Brown to Goya’s Saturn Devouring his Son. What do you think about all that?

You’re not reaching too far with “Saturn Devouring his Son.” That’s definitely an image I saw when I was a teenager. When we see that painting, now, there’s an element of goofiness to it. But there’s also a blunt, downplayed, but in that way believable, violence to it with the mutilated corpse he’s holding. I’ve always been drawn to that kind of grizzliness.

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The View as Enclosure

The View as Enclosure

In the autumn of 2001 I had an experience at the Mattituck Museum, in Waterbury, Connecticut. The exhibit, Images of Contentment: John Frederick Kensett and the Connecticut Shore was on display upstairs. His Hudson River School style is typically described as Luminism, its hallmark a tranquil scene with evanescent light, and in Kensett’s case -more often than not an image of the conjunction of water and land. The impact of each work is an experience of restfulness and calm, a bath of even, transcendental light in the reassuring, supportive bosom of nature. 

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