- Open today, 10 am to 5 pm.
- Parking & Directions
- Free Admission
Munchkins I, II, & III
Artist:
Idelle Weber
(American, 1932 - 2020)
Date: 1964
Medium: Acrylic on linen
Dimensions:
72 x 214 in. (182.9 x 543.6 cm)
Classification: Modern art
Credit Line: Museum purchase, in honor of William Hennessey, Director 1997–2014, and Walter P. Chrysler, Jr., by exchange
Copyright: © Idelle Weber
Object number: 2013.9.2
Not on view
DescriptionMunchkins I, II, & III is a seventeen-foot-long Pop era work. In Munchkins I, II, & III, Weber's edgy technique combined a Pop sensibility with the striking geometric lines of Minimalism and Hard-Edge painting. At the same time, the painting’s intense flatness and lack of perspectival space reflect the techniques of commercial advertising. Her featureless figures echo the impenetrable anonymity of the city, which underwent a population boom in the post-war era. The painting exudes the lack of personal interaction that occurs in the daily “rat race,” as business men in suits and ties ascend and descend the intercrossing escalators in the PanAm (now MetLife) building, completed in 1963. The title specifically references The Wizard of Oz and the underlying political and social metaphors that can be garnered from the film, in which hundreds of munchkins happily toil day-after-day for the authoritative wizard. Signed and dated lower left: "i weber / 1964."
Label textIdelle Weber
American, 1932-2020
Munchkins, I, II, & III, 1964
Acrylic on linen
Men in business suits ascend and descend the crisscrossing escalators of the PanAm (now Met Life) Building in Manhattan. Idelle Weber’s ironic title refers to the little characters in The Wizard of Oz—ordinary citizens who are oppressed by a cruel witch. Here, the urban commuters toil under what Weber called the “airlessness and isolation” of corporate life. The artist’s edgy technique draws on the sensibility of Pop and the look of commercial imagery, but exudes a “Mad Men” feel that exposes the dehumanizing effects of everyday life in mid-century America.
Museum purchase, in honor of William Hennessey, Director 1997–2014
Walter P. Chrysler, Jr., by exchange 2013.9.2
American, 1932-2020
Munchkins, I, II, & III, 1964
Acrylic on linen
Men in business suits ascend and descend the crisscrossing escalators of the PanAm (now Met Life) Building in Manhattan. Idelle Weber’s ironic title refers to the little characters in The Wizard of Oz—ordinary citizens who are oppressed by a cruel witch. Here, the urban commuters toil under what Weber called the “airlessness and isolation” of corporate life. The artist’s edgy technique draws on the sensibility of Pop and the look of commercial imagery, but exudes a “Mad Men” feel that exposes the dehumanizing effects of everyday life in mid-century America.
Museum purchase, in honor of William Hennessey, Director 1997–2014
Walter P. Chrysler, Jr., by exchange 2013.9.2
Published References
Francisco Farreras, “Idelle Weber Exhibition at Schaefer Gallery,” ARTnews, vol 63 (September 1964): 11.
Sid Sachs and Kalliopi Minioudaki, _Seductive Subversion: Women Pop Artists, 1958-1968_ (New York, Abbeville Press Publishers, 2010) 74-75.
Hollis Taggart Galleries, _Idelle Weber: The Pop Years_ (New York: Hollis Taggart Galleries, 2013) cover, 12, 22-23, cat. no. 5.
Holland Cotter, “Idelle Weber: The Pop Years,” The New York Times, April 18, 2013.
Doug McClemont, “Idelle Weber,” _ARTNews_ (September 2013) 98.
Art Daily, "Chrysler Museum acquires three works by Idelle Weber," October 2013, http://artdaily.com/news/65324/Chrysler-Museum-acquires-three-works-by-Idelle-Weber.
Teresa Annas, "Pop art paintings find an apt home," _HamptonRoads.com_, October 3, 2013, http://hamptonroads.com/2013/10/pop-art-paintings-find-apt-home.
Gary van Wyck, _50 Works of Art You Should Know_ (New York: Prestel, 2013) 68-69, fig. 23.
Don Harrison, "Art Unveiled," _Coastal Virginia Magazine,_ April 2014, 52.
Provenance
Collection of the artist to Hollis Taggart Galleries, New York, NY; purchase from Hollis Taggart by Chrysler Museum of Art, June 2013.