Lauren Rogers Museum of Art
Pride in Place: Landscapes by the Eight in Southern Collections
Lauren Rogers Museum of Art is one of 17 Southern museums to contribute works to the exhibition "Pride in Place: Landscapes by the Eight in Southern Collections," which will be on view in the Lower Level Galleries through Aug. 6, 2000. John Sloan's Dolly by the Kitchen Door and Ernest Lawson's Spring Landscape, Harlem River and Houses are from the Lauren Rogers Museum of Art permanent collection. (left: Maurice Prendergast, Mountain Landscape, c. 1910-13, watercolor and chalk, 10 x 13 7/8 inches, Collection of Cheekwood Museum of Art, Nashville, Tennessee)
Kristen Miller Zohn, Curator of Art at the Albany Museum of Art in Albany, GA, curated the exhibition. Zohn earned a master's degree in art history from Florida State University and is the author of African Art and the Sculpture of William Edmondson and Southern Exposure: Sporting Art by Aiden Lassell Ripley. (right: John Sloan, Road in the Arroyo, c. 19114-24, oil on canvas, 20 x 16 inches, The Harry and Mary Dalton Collection, Mint Museum of Art, Charlotte, North Carolina)
The Eight were "very concerned with the hustle and bustle of city life and the changing lifestyle of the early twentieth century," Zohn said. In landscapes, however, "the artists could focus on locations where they were able to slow down and appreciate the rich tradition and relationship that exists between artists and the landscape."
The Eight were a group of American artists in New York City who held a well-publicized exhibition at the Macbeth Gallery in New York in February 1908. The group of artists included Arthur Bowen Davies, Ernest Lawson, William Glackens, Everett Shinn, Robert Henri, Maurice Brazil Prendergast, John Sloan, and George Luks. Men of widely different tendencies, they were bound by common opposition to academicism. According to Dr. William Gerdts, a noted American art scholar who wrote the exhibition catalogue's text, a core group within The Eight - Henri, Sloan, Shinn, Glackens and Luks - had earlier been active in Philadelphia, primarily as newspaper illustrators, before migrating to New York. It was in New York that the artists began to tackle sometimes tough and brutal urban Realist themes associated with the Ashcan School. Some of the artists, however, were drawn to pure nature, and "Pride in Place" focuses on their works in this respect. (left: Ernest Lawson, Segovia, 1916, oil on panel, 12 x 16 1/8 inches, Georgia Museum of Art, University of Georgia, Athens, Georgia, Eva Underhill Holbrook Memorial Collection of American Art, Gift of Alfred H. Holbrook, GMOA 45.59)
"This particular group of painters rebelled against the style of American Impressionism and wanted to portray their surroundings in more a naturalistic rather than illusory way," said Tommie Rodgers, Lauren Rogers Museum of Art Registrar and Curator of Exhibitions. "The influence of The Eight was the catalyst for American Modernism in that it freed artists to capture their subject matter in painterly and abstract ways," Rodgers added. (left:: William Glackens, Green Boathouse, c. 1922, oil, 24 x 32 inches, Huntington Museum of Art, Huntington, West Virginia)
The exhibition came to Lauren Rogers Museum of Art from the Montgomery Museum of Art in Montgomery, AL. Previously shown at the Albany Museum of Art, it will travel to Cheekwood Museum in Nashville, TN., before closing in October 2000.
"Pride in Place: Landscapes by The Eight in Southern Collections" is sponsored at the Lauren Rogers Museum of Art by Trustmark National Bank, Laurel, MS, Howse Implement Company, Jefferson Medical, and Jitney Jungle Charitable Foundation.
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