Painting a New York Everyman
The first time he painted his father, a lawyer, Max used him as a model for a 1982 painting of a businessman on a subway platform. The success of that piece led to more sittings and more paintings, in oil or watercolor on wood. Inspired by Edward Hopper and 17th-century Dutch genre painting, many of the resulting images were real-life scenes — Richard visiting the post office, waiting for an elevator — while others, like that of father and son playing a game of pool, were painted from the imagination. Richard Ferguson was a devoted father, his son said, but he wasn’t demonstrative. “Perhaps,” he said, “painting him was one way of trying to elicit more love and approbation.”In “Painting My Father,” opening Monday at the Hebrew Union College-Jewish Institute of Religion Museum in Greenwich Village, Max Ferguson offers 30 years of these realist snapshots. The show, Mr. Ferguson’s 13th solo exhibition, captures his father as he was, and as he wished him to be — all against a backdrop of a fading midcentury New York.
An artist's depiction of a person or a place, whether in painting, writing or film, is always an internal depiction. Those seeking an actual place to connect Edward Hopper's painting of “Drug Store” to the corner store on Waverly Place will never find


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