The Art of Carrie Douglas Dudley Ewen 

Kentucky has a tradition of distinguished female artists who have made an impact on the world, such as Mary Spencer Nay, Dorothy Cullen, and Patty Prather Thum.  Flemingburg, Kentucky native Carrie Dudley Douglas Ewen continues in the tradition of these artists with her oil portraits and even in her commercial work. Though she is not as renowned she charted her own course in her life and as a result plays an important role in the framework of Kentucky artists. This exhibit is intended to bring Carrie Douglas Dudley Ewen to the public's attention, and to highlight this artist's life through her work.

Portraits can serve as records of a certain place and time in history.  They have occupied a vital role in museums, particularly historical societies. Their ubiquitous nature is evident; they are seen throughout the museum along the stairs, by the offices, and in the lobby.  Sometimes portraits are executed from a model who sits for extensive periods of time, while in some cases they are copied from a photograph or from sketches from a previous sitting.  A portrait causes us to consider exactly who the individual is that is being represented.  Sometimes the countenance is recorded but the name is not; in cases like this the viewer could invent or project a history onto the subject.

The nature of identity is an integral theme that runs throughout this show.  This is epitomized in the different names that Carrie Douglas Dudley Ewen used throughout her life such as Carrie Douglas, Carrie Dudley, Douglas Ewen, or simply Doug.  There is also the issue of the subjects of her portraits; some of the sitters were friends or relatives so there is an identity affixed to them while other sitters were hired models, of which the viewer forms their own ideas pertaining to the identity and histories of these people.

Any exhibit of portraits is in part an exploration of the constructed nature of portraiture, and the role that subjectivity holds for the artist and for the viewer.  Some might hold the idea that portraits render an objective likeness of the sitter; when in fact there are many factors that come into play, such as the specific artist and their particular style, the overall mood that they are trying to communicate, and their relationship with the subject. When one looks at the portrait titled Hattie, one viewer could see an awkward young woman who is uncomfortable sitting for an extensive period of time, while another viewer could infer the subject as being confrontational and brash in her facial expression.  Hopefully a dialogue arises concerning the nature of representation.

When we look at portraits we look for something that will reveal the inner life and depth of experience of the subject.  Possible indicators could be the eyes, the expression of the sitter, and their pose.  We consider where the subject was at that point in their lives; what were their accomplishments and dreams?  There is also the issue of whether the painter will expose a side of the subject that is too psychologically revealing and personal.  When the sitter agrees to the portrait, they are putting their confidence in the artist, subjects in paintings such as Art Teacher and Irene likely had faith in the abilities of Carrie Douglas Dudley Ewen.

            Portraits can serve to confer a certain kind of authority on the subjects.  One could see the person depicted and start to ask themselves ‘What did this individual accomplish that was so extraordinary that warranted their likeness to be recorded for everyone to view?’  Her rendering of those whom she was close to makes a commentary on personal histories.  As I explored the backgrounds of the subjects, I realized that they had their own notable accomplishments and have their influence felt in this world in their own ways.

            Portraiture is a type that is deeply entrenched in the history of art, some believe that it reached its zenith in the 17^th and 18^th centuries.  With her use of the soft pastel color in works such as Irene, Doug modernizes this traditional medium of portraiture, especially when one takes into consideration the general idea of the portrait, which is monochrome tones of black, gray and white that depict a subject that is oftentimes male. Yet there are also aspects of her portraits that are more established characteristics of the genre, such as the poses that she employs and the more realistic style of rendering the subjects. She did not experiment with the popular styles of the twentieth century such as Cubism and Futurism.   Those who she chronicled were a part of a bygone era, a time when people purchased cars and then had to be instructed how to operate them. So Doug’s work can be viewed as being both contemporary and yet it is also a record of a former time in our history.

            Her work is segmented into different categories such as her portraits, and her commercial work. Since this exhibit is in The Filson Historical Society, personal objects play an integral role in the exhibit.   The Chinese-style coat featured in her self-portrait, and the painted numbers that adorned her apartment door, serve to accent her work and add a more personal touch to the exhibit. 

           Though single paintings have been featured in exhibitions at the Corcoran, and The Kentucky Museum, this is the first exhibit that focuses exclusively on her work.  Taking that into account, this exhibit does not pretend to be the definitive exhibit on Carrie Douglas Dudley Ewen’s life and work.  This is not a chronological survey as some of her paintings are undated.  Focus is placed on universal issues such as identity and representation; these are themes that affect us and run throughout all of our lives.  Hopefully this show will entice others to obtain an interest in little known artists such as Carrie Douglas Dudley Ewen.  I invite you to explore the art and life of Carrie Douglas Dudley Ewen.

                                      – Gabrielle Hughes, Curator

The exhibit is open Monday – Friday from 9 AM to 5 PM.
The exhibit runs from April 13 – September 30, 2004.