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Peter Hurley/Scott Bullock
East Bank Club of Chicago After the Great Fire of 1871, some doubted that there would again be a Chicago, but by 1909, Daniel Hudson Burnham, acting for the Commercial Club of Chicago, unveiled his Chicago Plan. Merchants, clubs, civic leaders, and an entire city resolved to rebuild, and to preserve the Lake Michigan shore for recreation and enjoyment. Today, not withstanding its museums, theaters, and galleries, Chicago's great asset -- one almost unique among major cities throughout the world -- is its lakefront parkland. Chicago's lakeshore parkland forms the central theme for the newly unveiled mural at the East Bank Club, and it is a perfect choice. It represents how much institutions like the East Bank Club support art to the benefit of Chicago; how much pleasure and inspiration those efforts give Chicagoans; and is a reminder not only of what attracts others to the city, but also of the considerable assets Chicago has in talent, as well as locale. The East Bank Club mural, "Lakefront Afternoon," was painted by Peter Hurley with the collaboration of Scott Bullock. Daniel Burnham was once quoted as declaring "Make No Small Plans," and "Lakefront Afternoon" is Chicagoan in scale and content. The mural, unveiled by the club's Managing General Partner Daniel Levin on October 28, 1999, measures 90 feet wide by 14 feet high, making it one of the largest indoor murals in Chicago. "Lakefront Afternoon" took two years to complete; required over 25 gallons in a singular combination of oils and acrylics; and depicts over 100 people in a panoramic vista that exemplifies the best of Chicago life and what it aspires to sustain.
The work fills a greater part of the South wall of the Club's 14,000 square foot cardiovascular room, which in itself is a felicitous choice. The mural opens the room to a sense of the outdoors, and is both a visual stimulus for the eye, and an uplift during the rigors of exercise. It is art that accords with the East Bank Club's goal to be "a celebration of the human spirit, mind, and body." "Lakefront Afternoon" was painted on six 15-foot by 14-foot panels, but it is nearly impossible to detect any seams. The room allows viewing not only from the floor, but frontally from a balcony walk, and sideviews from the casual Grill to its East. Initial inspiration for the mural started with Georges Seurat's "Day in the Park" (Un Dimanche d'Ete a Ile de la Grande Jatte, 1886), which, fittingly, hangs in the Art Institute of Chicago. A comparison reveals how attuned to Chicago "Lakefront Afternoon" truly is. The 19th century French work presents a more static populace: dressed in finery for promenade and display, often sitting or merely standing -- viewers and the viewed. Most discernable movement is on the part of pets, which have no social facade or public face to maintain. "Lakefront Afternoon" is appreciably dynamic -- people run, play, do headstands, skateboard; they come for the exercise, the fresh air, to meet people... as individuals, not as counterparts in society. The people of "Lakefront Afternoon" are unself-conscious and visibly enjoying themselves and their park. Another source of inspiration mentioned was Edouard Manet's "Luncheon on the Grass" (Le Dejeuner sur l'herbe, 1863), and again, a comparison highlights the very different intent which motivates "Lakefront Afternoon." In 19th century France, academic painting reflected the general social tastes and Manet sought to invert those conventions and outrage the public. Today, after so much of art has drifted from public acceptance or even attention, "Lakefront Afternoon" reaffirms an art involved with human interests and which promotes a benevolent ideal for civic life. That in itself makes the mural refreshing, celebratory. Peter Hurley, assisted by another fine Chicago artist, Scott Bullock, does display some affinities with Manet in execution of the East Bank Club mural, however. Art historian, Albert E.Elsen, noted of Manet's painting that, particularly in the working of scene, "His desire for more immediate visual impact and convincing optical effect led him to reduce modeling, sharpen silhouettes, and force us to discern his fine nuances of closely matched tones." (Purposes of Art: Holt, Rinehart & Winston, Inc: 1972) In this, Peter Hurley, and Scott Bullock, have shown how artists can advance upon and apply past insights to very contemporary achievements.
A critique of "Lakefront Afternoon" by Tom James of the North Shore Art Guild notes: "There is a lyricalness not only to the way the artist uses the colors but also equally important to the way the paint is applied." James continues: "It is a 'less is more' technique. Instead of detailing the figures, Hurley has used quick and decisive paint strokes to imply features giving the painting a playful airiness. The gestural paint strokes create the motion." In this, Hurley's mural brings to mind the earlier portrayals of recreation by Winslow Homer; or Benito Correa's portraits of children -- images of beach-going, sunny lawn parties and picnics -- active leisure. There is also much that recalls the oils of William Merritt Chase. In "Lakefront Afternoon," Hurley furthers the quasi-Impressionistic approach of Winslow Homer, who himself drew much from Japanese prints and the French Impressionists, and, like the latter, Hurley shows a similar love for the effects of sunlight. And there is sunlight -- a luminosity pervades the entire panorama. Hurley's reduced modeling, an advance upon artists such as Manet, and skill in employing closely matched tones allow for gentle lighting effects and visual clarity of form. In ninety feet of lakeshore imagery which portrays 100 people, there is continuous activity and variety without confusion or distraction. The activity itself is composed as if in sequence, and well-paced. It is excellently matched to content. The left third of the mural presents a recognizably familiar Chicago skyline at horizon, below which families construct a model Chicago Water Tower in wet sand. Scott Bullock, who assisted Peter Hurley after the basic underpainting was outlined, noted that the vantage of the mural didn't plausibly allow for including that noted Chicago landmark. The sandcastle surrogate is a clever solution, and simultaneously presents a family activity typical of our beaches. Moreover, the artists have left personal touches in the mural -- their own family involvement. To the right of the Water Tower in sand, an ensemble of park-goers gathers about a drinking fountain: the small boy in blue shorts near the base of the fountain is Peter Hurley's son, Niles. Progressing toward the center, the mural offers joggers, strollers, a boy on skateboard, even a reveller performing handstands. And behind him, included among the bystanders are Scott Bullock's wife holding their child in her arms. In overview, the mural proceeds from open beach at left into shaded park, from center to the right. A number of mural figures are portrayed with back to the viewer, which adds to feeling as if one will enter the scene -- that one is a part of the activities. The tree canopy which frames and unites the upper center and right of the mural is predominantly in browns and ochres. It lends the impression of a late summer season, a farewell; but also suggests native oaks among the foliage. It does play well against the green colorfield and activity beneath it. "Lakefront Afternoon" required two years to complete. It is worthy of the time, labor and expense; and an asset to not just the East Bank Club, but the city of Chicago.
The East Bank Club has stated its commitment to investing in original art which will be enjoyed by members of the club for years to come. "Lakefront Afternoon" is an example of how artists and the private sector can collaborate to the benefit of both. The East Bank Club also boasts a second mural by Hurley, "The History of Athleticism," installed in 1996 over the large stairwell to the club's second floor. Peter Hurley studied figure drawing at the Rocky Mountain School of Art in Colorado for three years, and developed his painting by intensive self-study in the States and abroad of masters such as Degas and Caravaggio. His murals hang in public and private locations such as the Columbus Plaza Building, the pediatrics ward of Rush-Presbyterian-St.Luke's Hospital in Chicago, Houlihan's Restaurant Group in Kansas City and The Reach Hotel in Key West. His first commission was to co-produce the inaugural 6,000-square-foot Dome Room mural for the Limelight in Chicago. He is a founding member of the Coldhouse Group formed in the late 80s and based in Chicago -- its credits include two highly successful independent art exhibits in transformed urban spaces and Featured Artists status at the international art exhibit, Edinburgh Festival. Scott Bullock's exhibition of recent paintings at Byron Roche Gallery in Chicago was reviewed in artscope.net (July 16-August 21, 1999). Editor's Note: In 1978, Guide to Chicago Murals: Yesterday and Today, was published by the Chicago Council on Fine Arts. The volume is long gone, as are some of the murals. Perhaps a new volume will eventually appear, but artscope.net welcomes information on new murals executed in Chicago, particularly work initiated by the private sector and accessible to the general public. --G. Jurek Polanski Jurek Polanski has previously written and art edited for Strong Coffee in Chicago. He's also well known and respected among the Chicago museums and galleries. Jurek is currently a Visual Arts Correspondent for ArtScope.net. |
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