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Interlude (add media citation? hyperlink?) is an oil on canvas work by mid-20th-century painter John Koch, completed in 1963. It is one of Koch’s many known works featuring a nude model and himself in-studio. Interlude along with other pieces such as The Sculptor (1964) (add media citation), and Painter and Models (1972) (add media citation) present the theme of a scene in which artist and model are in the midst of taking a break (MAG citation). Nakedness of the model is still portrayed, but in an unprompted and naturalistic state different from whatever artificial pose they might have been in. The model is alongside Koch before his unfinished canvas, in his high end domestic space - a fourteen bedroom apartment on Central Park West (Silver citation). An interaction between Koch and the model, or the model and another subject, is customarily caught in frame. Interlude depicts Koch’s wife, Dora Zaslavsky, handing the model a cup of tea for example. This unique take on the nude portrait is a stand out feature of Koch’s body of work. In addition to subject matter, Koch's painting style reflects traditional European realism, somewhat of a rare sight in post-war American Expressionism (Silver citation).
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In John Koch’s Interlude (media citation), a large oil on canvas work, there are three figures, a white man and woman and a black woman - John Koch, his wife Dora Zaslavsky, and model Rosetta Howard (MAG citation). Koch occupies space in the furthest layer of the composition, sitting back on a couch with a drink in one hand and the other propped up, his eyes focused on a tall canvas turned away from the viewer and lit by a single lamp. Zaslavsky wears a plain floor length red dress, occupying the middle ground, a gentle polite smile on her face with downturned eyes that are likely focused on the white teacup and saucer she is handing to the model. Koch's inclusion of this bright crimson creates a visual focus, and perhaps even a point of contrast to separate Howard's figure from the mostly brown tones she is composed within. Howard is completely nude and occupying the foreground, facing away from the viewer so that only her back, the top of her buttocks, and her outstretched arm reaching for the teacup is visible. Her hair is either short or pinned up, making the expanse of her back a prominent and outstanding part of the overall composition - a second central focal point. In its entirety, this painting is a scene caught in motion, the moment a teacup is handed to a body leaning forward, possibly from a position previously held for the working artist in the background. It is the moment the artist takes a break and leans back to observe what he had been working on – a pregnant pause disturbed by sheets ruffling, the shuffling of feet on the wooden floor, and the clink of a teacup in its saucer.
Interlude (media citation) has a careful resemblance to reality in its soft brushstrokes and use of lighting. Koch took the gentle texture of oil paint and spun it to create a world not dissimilar to our own. There is no outright abstraction or experimentation with color, viewers are simply transported to the warmly lit room in which the scene in question takes place. From the small patch of yellow light on the wooden floor in the middle ground, to the carefully painted creasing of the white sheets where the nude woman sits, the artist created a highly detailed rendering of something just shy of reality. In addition to brushstrokes and lighting, Interlude (media citation) has a sharp foreground to background compositional layout that acts almost like a window into the painting, elevating the viewer’s visual experience. From foreground to background, the viewer is closest to Howard looking into a room that ends with a large mirror on the furthest wall – a mirror that reflects windows on the invisible fourth wall, or the area from which we view the scene. The windows contain architecture-like shapes that suggest a world beyond the confines of the room, and the cool blue light they let in clearly indicate the primary light source of the painting. Use of the fourth wall adds to the composition’s sharp foreground to background compositional layout, thus confirming its definitive use of realism.