Tanning, Dorothea (1946). Guardian Angels [oil on canvas]. New Orleans Museum of Art: Museum Purchase, Kate P. Jourdan Memorial Fund, 49.15 © 2008 ARS, NY/ADGP, Paris.

A realistically-rendered work of a surrealist landscape and imaginary figures. There seem to be creatures populating the scene, but the distinction of where they end and the surroundings begin is almost always difficult to identify. Color is “cast” on the objects, rather than being a property of the objects themselves. The illusion of depth is seamless. |

The scene can be roughly identified as creatures occupying a surrealist landscape, but beyond that this work becomes a case study in the blending of definitions (edges, living versus inanimate…). Recognizable object components, such as legs, wings, bird-like eyes and legs, all living in character, are the only reason why such a landscape can be implied in the first place. Tanning seems to be pointing out our own instinctual tendency to fabricate order out of what cannot be defined; that we lie to ourselves. This is accomplished through oil on canvas.

Subjective shapes which owe their existence to Tanning’s imagination are the primary elements used in this work. Through deliberate use of color, light and subject interaction, she creates a beautiful, satin-like texture throughout. One element Tanning uses that the viewer does not need to come to terms with is shadow; Tanning creates a consistent and hyper-realistic light source. This, combined with overlapping objects, create a strong illusion of depth. 

This work places pictorial balance as subordinate to other strategies used to build a composition. It is asymmetric, but static. This work is dominated by subjective shape; those shapes are mostly organic in tone, but the internal shape ratio is more balanced between organic and vaguely geometric. Color is cold for the most part, and is subordinate to shape and texture.

Lines of motion are created in how the implied creatures interact with each other. They gesture inward toward the center of the picture plane, and up the tree-like structure running along the right half of the scene. The viewer seems to be watching the interaction, unnoticed. The vertical orientation of the composition supports the flight-capable character of the creatures.

When the innate beauty, delicate texture and realistic character of the scene is combined with the underlying question, the result is an excellent and organically unified work of creation.