Inspired by “L’Arlesienne” by Vincent van Gogh

Presumably the thoughtful lady in Johnson’s tableau is musing about the contents of the books lying open on the table before her. Their distinctive red and yellow covers indicate that the jumble of books consists of inexpensive modern novels. Her choice of reading material is recent and up-to-date for the late nineteenth-century, but she is dressed traditionally in the style typical of the women of Arles, a city in southern France. The old-fashioned black dresses and hats with ribbon streamers were still commonly worn there in van Gogh’s time. Her pose, with one elbow bent and resting on the table so that her hand supports her tilted head, draws on a portrait convention that suggests melancholy.

Johnson’s sculpture is based on one of the several portraits van Gogh painted of Madame Marie Ginoux, who with her husband Joseph-Michel were the proprietors of Café de la Gare (Railway Station Café) in Arles. The Ginoux family ran a boarding house on the same premises, where van Gogh rented a room for several months before moving into the Yellow House in October 1888. Van Gogh believed portraiture would be “the thing of the future,” but he always had difficulty persuading models to pose for him. In this case, Madame Ginoux finally agreed to pose only after Paul Gauguin, who apparently had a way with the ladies, arrived in Arles and asked her to sit for both artists.

The bold color and sparse setting effectively convey van Gogh’s perception of his landlady as a strong and forceful character. Johnson took pains to recreate the vivid colors and exuberant brush strokes that van Gogh used to make a vivacious flesh tone when he painted her bronze face. The startling beauty of the smudges an energetic dabs of pain from the van Gogh can be seen throughout the patina of the bronze. The three-dimensional aspect of Johnson’s re-creation enhances that image and encourages a deeper investigation of the sitter in her solitude

Reitz Union North Lawn, near McCarty Hall A

In this piece, Seward Johnson brings to life one of the most famous paintings in American history. Painted in 1930, American Gothic was Grant Woods’ celebration of the moral virtue of hard-working Americans. Some critics believe it may also have represented the repression of rural America. Because of its many interpretations and the riveting portraits, the piece has gone on to become a widely parodied image in pop culture. The presence in Johnson's series called Icons Revisited reflects this magnetic attraction, and asks the viewer to examine what facets of the image have created the broad appeal. Additionally, the question presented by Seward Johnson is - has there been a change in perspective since this iconic painting was made, and what are the shifts that have occurred?

When Johnson re-imagines a classic artwork, he adds his own transformational message. The depiction of these two American farmers in his sculptural three-dimensional work is accompanied by a suitcase with stickers from many of the overseas outsourcing capitals. Johnson uses this addition of the suitcase to comment on the loss of jobs in America to overseas production. Today, there is a prevalence of outsourcing of US jobs in the fields of agriculture, manufacturing, and even art. Johnson invites viewers to see these farmers, and their stern countenances, from the perspective of modern day and asks us to take a closer look.

Reitz Union North Lawn, in between the Hub and Williamson Hall

From Seward Johnson’s Icons series, Unconditional Surrender, represents a popular photograph of a sailor passionately kissing a nurse in Times Square on V-J Day. Well-known for recreating life in our times in vividly realistic bronze, Johnson steps back into history with this work to pay homage to the veterans of World War II. The piece was inspired by that celebratory moment in US history when World War II ended, concluding almost seven years of wartime. It is also reflective of the spontaneous joy and “surrender” being experienced with the couple, becoming an iconic symbol of this time.

Reitz Union North Lawn, near Williamson Hall

Inspired by “Paris Street; Rainy Day” by Gustave Caillebotte

The wide boulevards, slick with rain, could be nowhere else but Paris. They are as French as the angled facades of the grand apartment buildings and the fashionable, nonchalant couple strolling in the rain. But it is important to remember that the Paris in Johnson’s tableau and Caillebotte’s painting is modern. When the Frenchman painted the wide streets and handsome buildings, they were brand new, the product of Baron Haussmann’s redevelopment of Paris. This enormous project, undertaken during the Second Empire (1852-1870) of Napoleon III, drastically changed much of the physical aspect of Paris, destroying old winding streets and neighborhoods to bring better circulation, electricity, and a proper sewage system to the rapidly expanding city. This venture also altered social relationships. The wide boulevards provided places to see and be seen, not only in a carriage or on a sidewalk but also in the cafés, shops, restaurants, and other establishments that prospered on the ground floor of the new apartment buildings.

Johnson’s tableau allows us to visit the intersection at rue St. Petersbourg between the tracks of the Gare St. Lazare and the Place de Clichy. Although the background of the painting seems so naturalistic, it was a particular challenge to recreate for the tableau. Johnson discovered Caillebotte had manipulated the usual modes of perspective to create his wide-angled vision of the scene. While making this piece, Seward Johnson kept the life scale couple of the Caillebotte scene situated with their backs to his studio door, and was astounded to find that as he worked on the large foreground figures, visitors to his studio were so familiar with the painting that they recognized the handsome couple at once, even from behind. And, although no one has ever seen this man and woman from any other angle, our minds can spin them around, recognize their shapes, and identify the particular characters. The artist found this reaction tremendously stimulating.

Reitz Union North Lawn

Summer Thinking belongs to an earlier series created by J. Seward Johnson in the 1990’s depicting one or more figures participating in a public landscape. Johnson’s attention to detail and commitment to realism disarm viewers, inviting them to participate in the intimate space of the figure. The young girl portrayed in Summer Thinking lies on her stomach, propped on her elbows; her pencil poised above a poem she is writing. One shoe off and a bare foot aloft are further gestures of the casting away of her studies, cares and pressures. Her focus shifts from the notebook before her and consequently prompts viewers to follow her gaze and to project their own narrative upon the figure.

Reitz Union North Lawn

Inspired by “Dance in the Country” by Pierre Auguste Renoir

Once again, Johnson once again gives spectators the opportunity to encounter famous works of art 360 degrees and with Time for Fun we can fully appreciate the exuberance of the dancing couple, sensing the movement far more viscerally in the three-dimensional form. Compared to the formal, almost solemn mood of Whispering Close, Time for Fun, is as open as the fan splayed in the hand of the woman, who listens with abandon to the sweet nothings of her partner in anticipation of a kiss. In Johnson’s three-dimensional interpretation, we are especially aware of her ample, ruffled dress cinched at the waist that emphasizes the curves of her body. Her robust figure contrasts with the slim elegance of the city counterpart, but her plump stature matters little to her companion. The partners seem, in fact, to complement one another, her rounded shape playing off his lean one, which is accentuated by his dark, tailored suit. Paul Lhote, author and long time friend of the artist, modeled for all three of Renoir’s dance paintings, but this is the only one for which Aline Charigot posed. She was to be Renoir’s future wife.

Reitz Union North Lawn

Inspired by “Dance At Bougival” by Pierre Auguste Renoir

Renoir completed three nearly life-size paintings of dancing couples in 1882 and 1883. The painting on which this sculpture is based appears to have been conceived as an independent work, while the other two (which inspired Johnson’s Whispering Close and Time for Fun, and can both be found in the Crossing Paths exhibition) were intended to be a pair.

In Johnson’s sculpture we can take a “turn” around the dancing couple, referred to in the title, which is not possible with the painting. In both Johnson’s sculpture and the painting, the handsome pair seem to be on the verge of a breathless twirl that will billow the skirt of her wide, laced-trimmed dress and draw the attentive escort even closer to his blushing partner. The models for Renoir’s A Dance at Bougival were friends of the painter, seventeen-year-old Suzanne Valadon (she also posed for Dance in the City) and writer Paul Lhote (who posted for all three paintings).

Renoir discouraged a specific, narrative reading of his works. The painting conveys a mood that is enhanced by the abandoned nosegay of violets cast upon the dance floor. However, one can see the exacting details from the oil painting represented in the bronze cast cigarettes at their feet and the small bouquet of bronze violets tossed near the hem of the woman’s petticoat. The single brush stroke of blue on the woman’s white skirt is another nuance brought to the sculpture directly from Renoir’s canvas.

Reitz Union North Lawn, near the Reitz Union

From Johnson’s Icons series, Coming Home shares the intimate moment of an Operation Desert Storm soldier returning from overseas and greeting his son with a hug. After Desert Storm, artist Seward Johnson was touched by the photos on the news showing the troops returning home to their loved ones. This sculpture was made in homage to that outpouring of emotion and affection. This sculpture has been on exhibition at the Pentagon under the auspices of General Colin Powell. Though the inspiration came from a specific moment in history, Seward Johnson is also making a statement about the love of a father for his children, and the heartbreak of separation.

Nadine McGuire Theatre and Dance Pavilion Box Office

From Johnson’s Man on the Street collection, Nice to See You, represents the ordinary worker, happily doing his job as a window washer. This piece was conceived by sculptor Johnson as a challenge to create a figure viewed from back, sides and the front through glass. The window creates another type of artistic framing that interested him. It also takes the viewer a little bit longer to recognize a non-human presence when they approach this piece from the glass side. The double-take is even more pronounced as people become suddenly aware that the "face" greeting them is not another live person. Note that another expression of Johnson's natural humor is shown in the inclusion of a paperback book in the washer's back pocket. The title is Rear Window, a nod to the very frightening Alfred Hitchcock movie.

Location rotating throughout the exhibit

Inspired by “The Fifer” by Edouard Manet

For this sculpture, Johnson chose one of Manet’s best loved and most poignant pictures, that of a small boy in the uniform of the Garde Impériale. It was Manet’s exactness and simplicity that struck Johnson in his choice of subject: the energy of the little fifer boy’s stance, his gaze the free-standing figure with no suggestion of perspective in the backdrop other than the shadows behind his feet.

As the mascot for the French Emperor’s personal Guard, the fifer’s baggy pants (not the style for boys then as they are now), oversized shoes and spats make him look even younger and more vulnerable than he already is. This painting and Johnson’s sculpture are not so much portraits as contemplative reflections on childhood and the passage from innocence to knowledge. In France this boy, with knowing eyes on his open face, standing all alone yet poised to meet whatever comes, would have been called a gamin, a street child left to fend for himself. Manet used more than one model to create this picture. Among them was his son, Léon, whom he never officially recognized.

For this striking painting, Manet combined the unmodulated expanses of color and suppression of modeling he observed in Japanese prints with a sense that the figure is surrounded by nothing by air, a trait he greatly admired in the work of Spanish painter Diego Velásquez. Both the critics that admired the work and those who despised it had the same reaction: that the boy seemed ready to detach himself from the background and enter our space. Johnson readily accomplishes this with his sculptural tableau. We are free to join this small fifer, although even if we do follow him, he will be no less lonely or committed to his mission.

Lawton Chiles Legal Information Center, Levin College of Law, University of Florida

From Johnson’s Man on the Street collection, the Sidewalk Judge casually gazes into the distance, “judging” passersby. He seems to be a well-dressed older gentleman, but closer inspection reveals he is an aging cowboy. The western-style hat and boots increases the draw of this character. Take a seat next to him and share your thoughts and observations.

Norman Hall, College of Education, University of Florida

Unfazed by the students and faculty of Norman Hall moving around her, this little girl is lost in her own world. This little girl posed with her picture book .is appropriately housed in front of the library at the UF College of Education for the Crossing Paths exhibition. She comes to us from Seward Johnson’s Man on the Street collection, and like the others, she is cast in bronze.

Health Science Building, College of Medicine, University of Florida

In front of the Health Science Building at the University of Florida, this bronze businessman tries to hail a taxi. Is he coming or going? This bronze figure is a part of Seward Johnson’s Man on the Street collection. Many of his counterparts can be seen around downtown Gainesville.

Sculptures in Gainesville’s Urban Core

Trimark Properties Office, 321 Southwest 13th Street

From Seward Johnson’s Man on the Street collection, Weekend Painter is another bronze sculpture often mistaken for a real person. During his time as part of the Crossing Paths exhibition, he is tasked with painting the sign of the Trimark Properties office on 13^th Street.

Santa Fe College Center for Innovation and Economic Development at 530 W. University Ave.

The sculpture titled, Point of View, is situated in front of Santa Fe College’s Center for Innovation and Economic Development (CIED). The CIED is what is known as an “incubator,” a program whose purpose is to help jumpstart small businesses. Point of View fits well with his backdrop as incubators such as the CIED have provided a new “point of view” in the ways a business develops. The sculpture is made of bronze and comes from the Man on the Street collection by Seward Johnson.

Collier Companies office on 220 N. Main Street

This sculpture is one of the few featured in the Crossing Paths exhibition that has two figures. These two businessmen, found on the lawn of the Collier Companies officers seem to be very animated in their discussion although they are firm as they are made of bronze. Johnson’s title for this piece gives spectators some idea of just what they are talking about. Do you think they will they decide to “skip the meeting?”

Matheson Museum, 513 E. University Avenue

Another one of Seward Johnson’s handymen from his Man on the Street collection, the bronze figure titled, Gotcha!, is employed at the Matheson Museum. Equipped with his landscaping clippers, he can be seen trimming one of the trees in front of the Matheson Museum.

Santa Fe College Charles L. Blount Classroom Building, 104 NW 6^th Street

To those quickly passing by, these two senior ladies having a lively conversation may appear to be real; however they are as frozen as the bench on which they are seated. These women created by Seward Johnson are also made of bronze and come from his Man on the Street collection. Johnson also created their bench, and they are one of three bench figures in the Crossing Paths exhibition. Are these ladies “crossing paths” for the first time, or are they long-time friends?

Gainesville City Hall Plaza, 200 E. University Avenue

Dressed for success, these two gentlemen go by the title, Frequent Flyers, giving observers the impression that they commonly go to and from work together. From Seward Johnson’s Man on the Street collection, the Frequent Flyers are made of bronze but will have no trouble blending in with the actual people milling about. They will be inhabiting the Gainesville City Hall Plaza for the next few months.

Gainesville Police Department Administration Bldg., 413 NW 8th Avenue

The name Attic Trophy alludes to the childhood joy accomplishment of finding “hidden treasures.” This young girl, although she is made of bronze, exudes the happiness that comes from those discoveries. By her expression and position, observers can see she is about to give her hula hoop a whirl.

This young girl, although she is made of bronze, exudes the happiness that comes from discovering long lost items. By her expression and position, observers can see she is about to give her hula hoop a whirl. The name Attic Trophy alludes to the joyful feelings accomplishment of finding such “hidden treasures.”

The Lunchbox at the Downtown Plaza on the corner of SW 1st Avenue and SE 1st Street (104 SE 1st Avenue)

As with all of Seward Johnson’s sculptures in the Crossing Paths exhibit, Holier Than Thou is made of bronze. This sculpture will be located in front of The Lunchbox, a popular walk-up food service establishment located on the Bo Diddley Community Plaza. Coming from Johnson’s Man on the Street collection, it is easy to confuse him with real people spending time at The Lunchbox and in downtown Gainesville. His expression and action are peculiar, and exactly what he is disposing is still in question; however we can all take a note from this figure and remember to not litter.

Gainesville Community Redevelopment Agency Office Building at 802 NW 5th Avenue

Seated outside the Gainesville Community Redevelopment office, a woman looks through her purse. Do you think the woman, titled The Search will be successful, or has she misplaced the item she is looking for? She is one of Seward Johnson’s bronze pieces from the Man on the Street collection, and may be mistaken for a real person she and her facial expression are very realistic.

Gainesville City Hall Plaza 200 E. University Avenue

For this bronze figure, Johnson asked an actual police officer to model for him. The facial expression of this faux police officer is almost comical as he writes out a citation, but it is unknown what caused it. What do you think caused him to make this face? Visit the officer to find out what he is writing on the ticket.