The City of Philadelphia embodies the ideals of a great painter, for the simplicity and elegance of its modernity relies upon its redefinition of historic principles. Certainly, the beauty of Philadelphia lies in the effortless balance of its historic importance and its position at the forefront of global culture. Like the artists and thinkers who make up its population, Philadelphia perpetually redefines what it means to be “modern.” Exactly one hundred years ago, a group of eight young Philadelphia painters banded together and redefined what modernity meant to the culture of Philadelphia. In the cyclical nature of the city’s history, a new group of artists has joined together to reinterpret the principles their predecessors set forth. The New Philadelphia School, comprised of Tom Brady, Chuck Connelly, Giappo DiFederico, Jon Eckel, Adam Lee Farrell, and R. Michael Walsh, explores the conflicting views and beliefs which color contemporary life and culture and paint their vastly different experiences.
Interpreting the themes of religion, sexuality, social class, and the changing face of the urban landscape, The New Philadelphia School confidently critiques and re-evaluates the role of the modern painter within the framework of the historically conservative Philadelphia Academy technique. Leading the younger artists within The New Philadelphia School, master artists Tom Brady and Chuck Connelly act as the bridge between classic themes and modern conventions. Tom Brady boldly uses paint to create an almost sculptural effect! In his unflinching desire to honestly depict the urban plight within the changing face of the contemporary landscape, Brady slashes through conventions with the daring yet assured strokes of an old master. Conversely, Connelly approaches in these selected works the sensuality of the historic nude and the contemporary role of the female figure. The freedom and feminine grace of the flowers and nudes he depicts contrast starkly with his powerful and obvious presence as a male painter. Connelly dares the viewer to re-evaluate established sexual roles and conflicting sexual desires. Coupled with his lush and sensual brush strokes, Connelly’s rich canvases coolly embrace the decadence of modern life, while the working class figures of Brady’s paintings emotionally reject this fascination. Coming from two different angles, the senior members of The New Philadelphia School set the framework and context for the younger generation that they inspire.
All classmates, the younger generation of The New Philadelphia School have studied, painted, and grown up together. Their camaraderie establishes a strong working relationship of influence and critique. This forces each painter to reconsider his modern values in the face of historic themes. The contemporary religious works of Giappo DiFederico and R. Michael Walsh approach the culture of religion within the current social and political climate. The graceful and ethereal quality of Walsh’s work contrasts the bright, graphic lines of DiFederico’s contemporary iconography. Both DiFederico and Walsh draw attention to society’s current religious dissatisfaction and longing to reconnect with ancestral roots. Adam Lee Farrell focuses on this dissatisfaction from a different direction, highlighting the ambivalence of fear and desire within contemporary culture. In his work, he juxtaposes quaint pueblos and slick machinery to demonstrate a yearning for simplification. Jon Eckel’s work also expresses this desire both to escape the complications of urban life and to retreat into the wilds of the subconscious. Eckel’s simple but evocative lines articulate the power and control which lie behind his painterly discipline. Together, the artists of The New Philadelphia School exude the raw energy, unbridled enthusiasm, and historic iconology which permeate the city in which they live and create. As a group, these dynamic artists depict the cutting edge of Philadelphia life while remaining close to the rich history and cultural network which binds and unites them in a collective that is both forward moving and forward thinking!
Christine Weller is a senior at the University of Pennsylvania. She is studying in a double major in English and Art History with an emphasis on Literary Theory, Cultural Theory, and Cultural Critique.
