Art as a Bridge: Barbara Ernst Prey’s Paintings and the Power of Patriotism
There’s something profoundly moving about art that captures the essence of a nation’s spirit, and Barbara Ernst Prey’s work does just that—but with a depth that goes beyond mere symbolism. When I first learned about her painting “250th”, featuring a small American flag nestled in a wreath on a faded blue door, I was struck by its simplicity. Yet, it’s that very simplicity that makes it so powerful. Prey isn’t just painting a flag; she’s painting a moment, a feeling, a connection to history.
What makes this particularly fascinating is how Prey uses her art to bridge divides. In a world where political disagreements often feel insurmountable, she reminds us that art and culture can unite us. Personally, I think this is one of the most underrated aspects of art today. As Prey herself notes, ‘You might disagree politically, but you would come together in a wonderful concert or in the arts.’ This idea resonates deeply, especially in an era where polarization seems to dominate every conversation.
The Personal and the Patriotic
One thing that immediately stands out is Prey’s deep personal connection to her work. Her Maine roots, stretching back to the 1700s, are more than just a biographical detail—they’re a cornerstone of her identity as an artist. Her ancestors fought in the Revolutionary War, defending the coast from the British. This history isn’t just a backdrop; it’s a wellspring of inspiration. What many people don’t realize is how rare it is for an artist to have such a tangible link to the past. It’s not just about painting a flag; it’s about painting her own story.
Her paintings “Gallantly Streaming” and “God and Country”, both created in the aftermath of 9/11, are equally compelling. “Gallantly Streaming”, which depicts a flag returning to full staff after a period of mourning, is deeply personal for Prey. She lost people she knew in the attacks, and the painting is a testament to resilience and healing. If you take a step back and think about it, this piece isn’t just about national grief—it’s about individual loss and the collective human experience of recovery.
“God and Country”, on the other hand, is a quieter reflection. Painted during her retreat to Maine in 2001, it captures the solace she found in the state’s natural beauty. A detail that I find especially interesting is how she uses church doors as a symbol of both mourning and hope. It’s a reminder that patriotism isn’t just about flags and anthems; it’s about the places and spaces where we find comfort and strength.
Art as Diplomacy
What this really suggests is that art has a unique role in diplomacy—a point driven home by Prey’s inclusion in the “Passport to Patriotism” exhibit at the Art Museum of the Americas. Curated by the State Department’s Office of Art in Embassies, the exhibit showcases how art can foster cross-cultural understanding. This raises a deeper question: Can art do what politics often cannot?
From my perspective, the answer is a resounding yes. Prey’s work, which has been exhibited in embassies and diplomatic residences around the world, demonstrates how art can transcend language and ideology. Her painting at the U.S. ambassador’s residence in France, for example, isn’t just a piece of decor—it’s a conversation starter, a way to connect with people from different backgrounds.
The Broader Implications
If we zoom out, Prey’s career highlights a broader trend in the art world: the growing recognition of watercolor as a serious medium. Her nine-foot-tall-by-16-foot-wide watercolor at MASS MoCA is a testament to the versatility and impact of the medium. What this really suggests is that watercolor, often dismissed as ‘delicate’ or ‘less serious’ than oil or acrylic, can be just as powerful—if not more so.
Another angle that’s often overlooked is how Prey’s work challenges traditional notions of patriotism. Her paintings aren’t jingoistic or overly sentimental; they’re nuanced, reflective, and deeply personal. This is what makes her art so accessible and relatable. It’s not about waving a flag; it’s about understanding what that flag represents to different people.
Final Thoughts
As I reflect on Prey’s work, I’m reminded of the enduring power of art to inspire, heal, and connect. Her paintings aren’t just about America; they’re about humanity. They remind us that patriotism isn’t a monolith—it’s a mosaic of individual stories, experiences, and emotions.
Personally, I think Prey’s greatest achievement is her ability to make the personal universal. Her art invites us to see ourselves in the broader narrative of a nation, to find common ground in our shared humanity. In a world that often feels divided, that’s a message worth celebrating.
So, the next time you see a flag, a door, or a church, take a moment to think about what they represent. Because, as Barbara Ernst Prey shows us, even the simplest images can carry the weight of history, memory, and hope.
