Woman Reading

A new age had begun, one filled with technological wonders, hope and optimism. Yet but 1949, this had waned in the shadow of the war, and the open fields of potential seemed to yield less than they had promised. The human imagination that had so expanded at the turn of the century had been corrupted, and the artists who had first seized upon modernity, it seemed, had paid too much reverence to the bright future they saw ahead. Storrs was one such artist, having been part of the culture epoch in Paris that helped fuel the revolution in the new visual language. Yet his later work, like Woman Reading, addresses some of the naivety of his youth and the worship of the experienced world that had gone with it. Here, referential ties are still present, the figure and the setting are clear, but it has been reduced to simplicity, to something more formal and abstract that speaks to a universal detachment as much as it does his personal expression. Storr’s work grew with him, and it’s in subtle cues, showed the changing optimism of a new century becoming old.