e is giving the viewer what she thought of her piece. The piece which has a very strong style of geometric simplicity, melded together to create something disquieting about the scene. Its intent is to evoke emotion in the viewer, whatever emotion being viewer preference. Her works are a more descriptive form of Surrealism. Much like Dali and Tanguy, the setting of her paintings are unreal, very much like a dream. However, her placement of the objects is so precise, it almost evokes the classical still-life. (Miller, 1990. Pg 133)Time magazine described Sages art with a rather asinine reply:The olive-colored world that Kay Sage confines to canvas is wide, wet, uninhabited, and untroubled. Her private cloudland, on exhibition in a Manhattan gallery last week, might depress some people but would hardly disturb anybody. Surrealist though her paintings were, they had no more wallop than a wisp of smoke. (Time, 1950.)By turning her painting into something that could be hung on the living room wall as decoration, Time reduced the impact of what her paintings mean to both her and the viewer. The stark bleakness of Tomorrow is Never (1955) created the same year as the death of her husband, Yves Tanguy, is negated to something that is merely a curiosity. When asked where she gets her ideas for such fantastic paintings, she responded with: I suppose I start with some sort of composition. I see it in a way in advance, but very often it changes as I go along. I do know that while Im painting I feel as though I were living in the place. (Time, 1950.)She might have been living in her paintings towards the end of her life. The bleakness and loneliness that seems to radiate outward from Sages paintings have long been thought of to be reflections of her emotional state, especially after she committed suicide in 1963. She was depressed over the death of her husband, her failing eyesight, and inability to do simple tasks. Surrealism?Many people claimed tha...
