Pearl Blauvelt’s drawings, discovered by chance in her former home in Northeast Pennsylvania, date from the 1940s/’50s. Obviously, she painted what she wanted: clothes, furniture, a big house, a car, and money. For all the naiveté, there are still some astounding moves: the house is transparent – the same is the clothes and the body – the perspective is reversed, and the proportion is highly skewed. Blauvelt’s style may appear childlike, but there is a crude sophistication to the composition and draftsmanship. The repetitive alternation of commercial objects creates a sense of abstraction, suggesting the sensibility of Pop Art.
“This work is also a great example of Blauvelt’s injection of religiosity to her non-religious work. It is thought that Blauvelt added these place names from the Bible because she was a devout woman drawing secular images and felt the need to imbue the work with the Christian faith to satisfy God. Given her colonial lineage and connections to the First Dutch Reform Church, another idea is that she was conflating the New Holy Land promised by the New World with her corner of Pennsylvania.” By Andrew Edlin Gallery.
Artist: Pearl Blauvelt
Medium: graphite and colored pencil on notebook paper
Size: 8.5 x 11 in. (21.59 × 27.94 cm.)