But I had never tried it. Many people I knew grew up in Alameda, moved away, and then moved back there.
BECHTLE: Yeah. BECHTLE: No, no, I think it's a good reading, and I'm - I'm sort of looking for that, you know, without trying to make too much of an issue of it.MS. Do you see one another? I mean, it seems like paint is such a [basic material]. BECHTLE: But it's totally boring. So I suppose the figure in the center, the stillness of it; the figures caught in poses which are basically – they seem to be informal but they’re informal in a way where the figure is obviously posing and is aware of the camera, aware of the viewer, so that that establishes a kind of formality, and that relationship between the informal, or casual snapshot quality and then this very formal kind of frontal relationship.
And I was at that point looking for a different teaching situation.PAUL J. KARLSTROM: Just to refresh, where were you teaching?ROBERT BECHTLE: Well, as we covered earlier, I started teaching at Arts and Crafts and I had sort of worked up through various rank stages there and I had tenure there and – I forget now – I think at that point I was either associate or maybe full professor in rank. BECHTLE: Yeah, but not as much.
RICHARDS: Oh, I mean San Francisco State. But -MR. BECHTLE: Well, I mean, you know, the biggest paintings I have done have been about six by eight feet, which is not that big really. Taking in what was recent, what was new, what was beginning to be outstanding. First visits to museums.
You know, it doesn't always - there are lots of Edward Hoppers that are not up to snuff, but, you know - I mean, they're not up to his snuff. I remember seeing an exhibition of Peter Phillips and then I think another one was Peter Blake. Then she taught a second year at a small school in Tipton, down near Bakersfield which is the opposite end of the state. Charles Meredith – I thought that was interesting, and other figures of course, Hopper and Homer. And one of the reasons bought the house was because it had a developable studio space in it.MS.
Then right at the beginning of the war, 1942, I guess, he got a similar kind of job with the Bureau of Electricity in Alameda which was much better because there was less need to be away from home and so we moved back to Alameda. Do you have a different dealer who does that?MR. But they didn't really recreate it. I think the gallery evolved in ways that ultimately became problematic to not just to me but to a lot of us. The painting technique has evolved in a somewhat different way. In a lot of cases, people have no idea where I live. RICHARDS: Switching to the critical response to your work, first, kind of general question.
From there on I was totally immersed in it.
My dad had been born in Alameda in the first place, so they were already on that side of the bay but when they got married they moved to the city. He continued with PG&E and moved up to Sacramento in 1938 or 1939 to be nearer the construction work. RICHARDS: You talked about vanity.
What’s happening between the figures, let’s say, or what’s happening between the figures, let’s say, or what’s happening between the figure and the viewer in a way those things interplay with the formal structure.
He’s sort of dropped out of sight, or at least he’s moved out of the area, has gotten involved in religious retreat, and has been working for the last couple of years, so I haven’t seen him. To this day it’s still called the “Gold Coast” and that’s where the wealthier folks live. But in terms of artists’ life styles that I look back towards and can sort of make a response to, that have some sort of connection with me, I look at artists like Matisse, Bonnard, or some of the Impressionists who lived very quiet middle-class lives, very comfortable lives.
Obviously there are different degrees of how you deal with it, and if one is working with a very realistic thing, the subject matter is being brought out in such a way that say s, “Look, the subject matter is important,” and it must be dealt with.
Were you familiar with him?MS. My grandmother was – went through it, you know – and so I’m not certain how soon before that [1906] they were out here. And at that point it was possible to do the two, you know, galleries easily. She lived by herself in Oakland.PAUL J. KARLSTROM: How did your mother and father get together?
What I love about it is all the stuff that I wouldn't paint, because it's too quaint. The stuff like the Dada movement and the beginnings of Surrealism, the outlandish things that those people did epitomizes the way art students in particular like to think of themselves.
BECHTLE: I think I did the first of the, sort of, an ongoing series of charcoal drawings sometime in the mid-'70s.MS.
RICHARDS: You know, people think about San Francisco as being a beautiful place to be in the summer.MS.
BECHTLE: Yeah, they tend to go in spurts. Prime members enjoy FREE Delivery and exclusive access to music, movies, TV shows, original audio series, and Kindle books. We didn’t think about it, really. I guess they were trying to keep it warm or whatever.And so I wasn't interested in painting that. And that, in 1969, was rather startling to see, but by, you know, 1980, a lot of stuff that happened, it was very different from that, and when you saw the shows at OK Harris, you wouldn't even be aware that any of that stuff had happened out there.So that was an issue; the fact that it became sort of where you went to see the Photorealists, along with Lou Meisel, meant that there was a certain context that the work was being seen in that seemed very predictable, and it seemed like it was - you couldn't think about it in a different way, and so - I thought about leaving the gallery any number of times, and I could never figure out any place that I wanted to go that I thought would want my work. I don't know.MS.
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