The Second Generation of Bay Area Figurative Artists are perhaps not as easily categorized as Gen 1 but there are many things to discover. The 'bridge' generation (see previous posts) was more open to bringing their personal lives into their work, and did not shy away from the erotic or psychological. They also were willing to have one foot in abstraction, not having had the initial resistance to losing painterly, lyrical qualities.

Gen 2 was funkier. They even used that word-drawn from jazz. They did not have as much baggage as Gen 1 about resisting Abstract Expressionism. They also had a changing world to contend with. It was the sixties. They were Beats. Commercial success wasn't a priority.

Bruce McGaw had been the only one to be included in the landmark figurative 1957 show. McGaw revered his teacher Diebenkorn but he also loved Dada. "I just felt that anything was possible," he said. McGaw did not need for the body to appear frontally, or even in full. He could make small paintings of feet. Yet they still pack a punch.

This painting from 1957 does not represent the mature McGaw which hews closer to his beloved teacher Diebenkorn albeit with stark coloration. But in it I saw Ensor, and Bacon and an expressionism that borders on the cartoon. It is merely called Figure, but McGaw revealed it is drawn from a newspaper image of the Pope. McGaw wanted to poke holes at organized religion and repression. Like Bacon's image of the Pope, it is devoid of reverence.

Bruce McGaw is still alive, living in Oakland. He ranged far and wide stylistically, and has had a long life to graze. We should know more about this vigorous, talented artist. Alas, there is not even a hashtag associated with his name.