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Robert M. Fisher

From Wikipedia, the free encyclopedia

Robert Miles Fisher (November 12, 1928 – August 19, 2007) was an American abstract artist in oils, watercolor, charcoal, and welded sculpture.

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  • Game 6: Fischer vs Spassky - 1972 World Chess Championship

Transcription

In 1972 the chess world witnessed something very special. It was this Round 6 game of the World Chess Championship between Bobby Fischer and Boris Spassky. Special for many reasons. To name a few...Fischer for only the third time in serious play began with c4, and regarding the game itself it's maybe best described in the words of International Master Anthony Saidy who said, "It was like a symphony of placid beauty." And not to be overlooked was a wonderful act of sportsmanship by Boris Spassky who, after the game, stood up and applauded Fischer for the masterful game he just played. This is that game. So Fischer opening up with c4, the English Opening. But what we'll soon see is that it transposes into a Queen's Gambit Declined. And that can be denoted by these group of pawns right here. After knight f6, knight c3, soon enough we enter the Tartakower variation with this move seven, b6. This h6 move is just throwing a question to the bishop. There's not really going to be any way to exploit this type of a weakness against the black kingside. It's more longterm flight square for that king. And you'll note that after this b6 advance...it's only at this point does Fischer decide to release the tension between these two pawns. Only after black has spent a move in creating a new door for this bishop. If white is to capture maybe prior to that b6 move, then the bishop can make use of this classic diagonal. But again, only after that b6 advance does white now clarify the structure in the center, capturing on d5. We do have a series of exchanges. And after the smoke clears, this is the pawn structure we're now dealt with. Rook c1, logical enough applying pressure to this c7 pawn. Bishop e6, a curious move. One may think why not just play to b7? b6 was played for a purpose but black is going forward with the bishop e6 move. If you do a quick comparison between this e6 square and b7 square...some of the differences may include well from b7 it's unprotected...e6 it's not. And additionally the bishop might want to later make use of let's say f5, or even harass the knight by playing to g4. So now queen a4, and one of the interesting things in my opinion with this game is how the white queen makes use of the whole chessboard. Or really, maybe better stated, wherever she is that's where the ensuing play will take place. So right now stuff is happening on the queenside after this queen a4 move. Again still looking to do something against this c7 pawn. Black presses forward challenging that d4 point of white's. Queen a3, this is a bit of an uncomfortable pin. A third piece is now hitting that c5 pawn...rook, pawn, and queen. It needs additional support. Rook c8 is decided on, and now more development by white. One step closer to being fully developed, and why not play to b5. In some sense you're just boxing out that knight on b8. a6 is, for the moment, not yet a threat since this rook is unprotected. So there's no need to react to a threat that's not there. Instead we just have more clarification in the center with d takes c, b takes c, and the resulting structure is the hanging pawn structure. So ideally white would like to have both rooks on the c and d-file applying pressure to these guys. White castles, fully development. And now only after rook a7, and the queen now defending that rook does white react with bishop to e2 just tucking it away. And just taking a snapshot of this position right here...it just seems so smooth right now. The knight on a classic square f3, the bishop tucked away on e2, a rook very well placed, soon enough the f-rook one would think is going to be placed to the d1 square, black being still in this slightly awkward pin...okay yes it's protected right here. But on the black end, look at the disjointed nature between these rooks right here, and the knight still on its home square...an isolated pawn on a6. After just these seventeen moves, okay it's a pretty decent amount of moves but, the differences between both sides I think is a great one. And soon enough what we'll see is an additional imbalance taking place. As it stands right now, it's just with regard to the pawn structure...this hanging pawn structure. So more development for black, fully developed at this point, but again not so harmonious. Knight d4, making use of this pin. This knight is now providing a disconnect between the queen and rook. So a very timely knight d4 is going to grant this knight for bishop exchange. So the queen backs up, getting out of the pin and just for the one moment...well just taking that bishop right away. And after the recapture we have now one strike in the center that really is going to turn the tables. These pawns right here...the furthest advanced ones...this pawn duo on the fifth rank is challenged with e4, and something needs to be done. And what black tries is just pressing forward which is typical. If you do have the knight you want to try and keep things closed. That d4 move is a step in that direction. It's also a passed pawn. But as we'll soon see, this pawn really could just never get going and is no serious threat to white whatsoever. Additionally with that advance, we now...looking a bit more closely at the pawn structure...recognize that we have a four on three majority tipping in white's favor on the kingside. Now that said, that's not to say you're supposed to throw up all of your pawns in this direction. It's more commonly seen that just the f-pawn and e-pawn for white will be the ones to press forward and try and induce some weakness against the black side. And the g and h-pawns would just stay back and act as the shield for that white king. So that's exactly what we see. f4, these pawns get rolling, queen e7, and now e5. Right here this now a static point for black, this pawn is immobile and will soon be pinpointed. So rook to b8, it wasn't really needed anymore to watch over that c5 square...so now coming back to this b-file to exert pressure on b2. Bishop c4...repositioning time at this point placing this pawn in a pin and looking forward to an f5 advance where this pawn is just going to strike at e6. Black gets out of that, and now the queen swinging over. Again, really dictating where the play will take place in the game. So making use of this whole third rank right here...sweeping from a3 to h3 and now pinpointing that e6 pawn for a second time. Knight f8, retreat to defend e6. And now something as simple as b3 makes these rooks look absolutely ridiculous. Because there's nothing that's now going to take place on the queenside. You could forget about it. Just this bishop and two pawns alone...this is one thing that I like to do in my own games is just recognize how a particular grouping of pieces can negate an opponent's group of pieces. And right now it's just these three highlighted white pieces negating these three right here. Or in other words you could view it as like a five points negating eleven points. And on the flip side of things there's going to now be a group of let's say these two rooks and queen, and even the bishop that are influencing the kingside. This bishop right here really being a multipurpose pieces in some sense...locking down on the queenside, and still exerting pressure on that kingside. So a5, looking to get in this advance right here...looking to maybe peel open that a-file. But things happen too quickly on the kingside. f5, something needing to be done about maybe capturing on e6 or even pressing forward one more step to f6, and that king will be in some serious hot water if that's allowed. So the pawn is captured, and it's the rook on f that recaptures so that this rook can soon contribute...doubling on the f-file. Knight h7, looking to reposition to that g5 square. White doubles, the queen backs up to d8. Queen g3 allows this pawn to press forward to h4. And what we basically see now is that move played. And look at this sad knight right here. It's just completely restricted, and this bishop is incredibly dominant. The differences between this bishop and knight are just enormous. This bishop is just way too powerful, as we will soon see in the resulting final position. So there's not really a whole lot unfortunately for black to be done right here. These rooks are just helpless to really doing anything. This is the only completely open file, and white controls it. It really cannot be contested whatsoever. So pressing forward with e6, rook c7 defending this c5 pawn. Queen e5, repositioning for white . And unfortunately for black...for pretty much the duration of the game...just can do nothing more that just shuffle the queen on these d8 and e8 squares. So basically emphasizing at this point is white...you know what black has nothing to do. Just a4 doesn't even allow the possibility for black to play a4 and create some opening on the queenside. So queen d8, rook f2...a slightly, I guess, curious move. Maybe in some sense it's saying... you know what...there's nothing that you could even do. Maybe just emphasizing the fact that black has again nothing. Or maybe also another way to view it is it's wanting to play to f3 so that after this queen d8 move...white has bishop d3 and this pawn can now not be taken. White maybe wanting this particular sequence to come about so that bishop d3 could be played and there's not going to now be rook takes pawn if the queen is still on e8. This would now be available after the bishop d3 move. But as it stands after queen d8, white now focuses the attention on this diagonal right here, and soon enough we have a tactical shot coming into play here. Nice battery...the threat now being rook to f8, which is going to be deadly. For example, if rook takes e6 we would just have rook check, knight takes rook, rook takes knight removing the defender of h7, queen takes rook, queen h7 and that's game over. So rook takes pawn is not played. Instead what is tried is just a knight move to f6, but Fischer just rips the position right open...grabbing that knight, recapture a couple times on f6, and king to g8. This is a hopeless position for black. What is tried is just king g8. But after bishop c4, the king is just having to get off of this diagonal so that this rook maybe has the possibility to move. Moving it now is going to allow the pawn to just press forward...one step closer to queening as well as having a discovered check against the king. So the king goes back to the corner. But after queen to f4, black can do nothing more than resign right here. The threats are just way too much. We have possibilities for rook to f8, winning the queen...rook takes h6 check...queen takes h6 check. There's not really a whole lot black can do. Just to show one variation...if the king is to let's say come back over to g8, we could have queen takes h6. And with now the threat of rook g6 check, and pawn push...there's not really a whole lot black can do. Just kind of making a passing move...if rook b7, we could have this check, rook block, pawn push discovered check. And what to do? The queen has to block. You could pick your favorite way to mate at this point...promotion or just capturing right here. However you slice it, black is beat from this position after Fischer's 41st move, queen to f4. So, in this video, it's really my hope that it acts as a great example of how the whole chessboard can be made use of...and how seemingly simple moves can translate into a significant advantage...and of how competitors of this great game can, or really should carry themselves in a similar way as Boris Spassky did in defeat.

Biography

Born in Cleveland, Ohio, Robert moved to Plainfield, Vermont in 1946, and began attending Goddard College. It took him eight years to finish his degree, as he worked his way through college. Robert's degree thesis at Goddard was on international communities. He was not yet painting seriously until moving to New York City, where he was offered the opportunity to work with Hans Hofmann at his New York School.

In the 1950s and early 1960s Robert received two large commissions to work for other sculptors, Ibram Lassaw (one of the founders of the Abstract Artists Association) and Herbert Ferber. He went on to produce welded sculptures of his own, exhibiting in juried shows, selling, and receiving commissions, notably for a "...large stainless steel piece in which the mirror finish ... picked up the reflected the colors of the sun and fall leaves."[1] Robert considered this "...to be a piece using modern techniques and materials, yet following the ancient polychromatic form of the Greeks and Egyptians."[1]

Mid-1960s, Robert moved back to Vermont permanently, so he could live less expensively and thus devote more time to creative endeavors. That did not stop him from getting involved in the Civil Rights Movement. By the end of the 60's, he spent a total of two years working in Mississippi, most of it helping develop cooperatives for low income people. He continued such community work until his death, mostly working with groups serving low income families and children, and organizations helping the families of those in prison. One example of such ongoing outreach work is "Street Angel Diaries." Robert donated the rights to use "about thirty" of his paintings of street people to help raise awareness of the plight of the homeless. "Street Angels" is a multimedia project first presented in 2005 in Los Angeles, to great critical acclaim. In 2006, the program was presented eight times at the Boston Court Theater in Pasadena, CA, and in 2007 in Cape Cod. Robert had "...been doing paintings of street people on and off for many years."[1]

Through the 1970s and up to 1986, Robert produced shows in Vermont and on the Cape, received commissions for welded sculpture, taught at the University of Vermont and at Goddard College, and continued to work in charcoal, oils, and watercolor. In autumn 1986, this rhythm was disrupted when Robert fell from a scaffold upon which he was painting and broke his back. Roberts was not paralyzed from the fall due to the then experimental spinal clip procedure, seven weeks in hospital and six months in a full upper body cast. He was able to return to work, but it was almost a decade before he regained full mobility, and he never did regain his former vigor.

In 2000, PBS aired nationally a documentary "Hans Hoffmann: artist/teacher, teacher/artist," directed by Madeline Amgout and narrated by Robert De Niro. Robert Fisher appeared in the program five times, and tried to offer to the audience "...some idea of the humor and joy (Hans) brought to his teaching."[1]

Robert was working on a number of projects at the time of his death. One was a proposed book about Ibram Lassaw, William, and Hans Hofmann and their major role in helping America become aware of and accept non-objective modern art, working with Ibram's daughter Denise. He had photos of the men that have never appeared in print, and was planning to include them in the book. Another project was tentatively titled "Ancient Bottle, New Wine: The Impact of Hans Hofmann and His New York City Mosaic Murals on the World of Modern Art." The Hofmann murals (on 711 Third Avenue and on West 49th) consumed a year of Han's creative life, yet are largely overlooked despite their providing an enlightening window into his theory of "Pure Color."

Robert stated that "... as important to me as Hofmann's artistic theories and techniques were, perhaps even more crucial was one of Hofmann's stellar statements, that "There are a thousand talents in the world, but it takes work to become an artist." In times when there seemed to be reason to be discouraged with my choice of following his path of work, his words left me not overly disturbed at lack of either recognition or of great leaps of progression."[1]

Works

Fisher's work has been exhibited in New York, Provincetown, San Francisco, and Los Angeles, where his series on "Street Angels" was well received. Some other notable exhibits include "USA on Paper," Copenhagen (1990), a traveling show in the Czech Republic (Gallery Zouf and Friends, 1993), and his last show, "" (Gallery, Burlington, Vermont).

His works are part of the permanent collection in the Cape Cod Museum of Art in Dennis Massachusetts, and in and Provincetown Museum.

Robert's works can be found in homes and with collectors across the USA and in Europe, although he hated to sell "his children."

References

  1. ^ a b c d e interview printed in "The Middlesex Newspaper," Vol. 18 No. 4, April 2007, published for the town of Middlesex, Vermont
  • Interview in "The Middlesex Newspaper," Vol. 18 No. 4, April 2007
  • PBS documentary "Hans Hoffmann: Artist/Teacher, Teacher/Artist," directed by Madeline Amgout, narrated by Robert De Niro, aired in 2000.

External links

This page was last edited on 16 June 2022, at 20:24
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