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-
Through American Eyes:
Two Centuries of American Art from the Huntington Museum of Art
September 10 - November 7, 2004
(above: John Frederick Peto (1854-1907),
Still Life with Ginger Jar and Pound Cake, circa 1890, oil on board,
12 x 14 x 1 inches,1999.15. Huntington Museum of Art)
Through American
Eyes is an exhibition of American treasures from
the collection of the Huntington Museum of Art. The Museum, in the Western
corner of West Virginia, bordering Kentucky and Ohio, is the home of an
important, self-defined collection,
the formation of which has been strongly influenced by the commerce and
taste of the region. (left: John Singer Sargent (1856-1925), Near
June Street, Worcester, Massachusetts, 1890, oil on canvas, 25 5/8 x
31 x 2 inches, 1965.18. Huntington Museum of Art)
This exhibition presents a variety of styles and techniques
that make up the last two centuries of American art, and offers the opportunity
to compare artists from different backgrounds, artistic training, and time
periods. The works date from the late eighteenth century up through the
end of the twentieth century, and mirror the extensive collections of glass,
painting, sculpture, prints, folk art and firearms.
Thanks to a generous grant from the Henry Luce Foundation,
Inc. and an anonymous donor, the Museum is able to organize this exhibition,
publish the accompanying catalogue, and share this important American collection
with institutions across the United States -- a fitting fifty-year anniversary
acknowledgement for the Museum.
Painting
Originally, the American colonies were seen as an extension
of Europe, but soon after independence, the young nation
sought its own identity in all matters, including the arts. For the first
century, there was an ongoing debate as to whether American artists should
study in Europe, or stay at home. Artists strived to give their work a distinctly
American look, or at least combine their European gleaned style with American
subject matter. (right: Robert Henri (1865-1929), Kathleen,
1924, oil on canvas, 30 x 26 x 2 inches, 1967.1.127. Huntington Museum of
Art)
In America most patrons of the arts were private individuals,
not the government, or the church as in Europe, and in the early on, portraiture
was the most viable and desirable type of painting. The invention of photographic
processes, and the search for something innately "American" turned
many artists to landscape, genre scenes, still life, and figure painting.
Landscape eventually emerged as the most popular American art form in the
nineteenth century. Artists began depicting the mountains of the Eastern
United States, accessible to artists from Boston, New York and Philadelphia,
which evolved into a style known as the Hudson River School. Soon however,
the vast, wilderness of the United States lured many artists west for new
artistic opportunities.
This collection contains many examples of works by artists
who toward the end of the nineteenth century studied in Europe, and returned
with modernist aesthetics, especially impressionism. Many good examples
are presented in this gallery of paintings that display adaptations of impressionistic
techniques such as plein air painting, direct observation of light effects
on surfaces, use of prismatic colors, atmospheric conditions, and contemporary
subject matter.
European turn-of-the-century movements such as cubism,
fauvism, expressionism, and non-objective styles became widely known to
American artists through the Armory Show of 1913. American artists were
greatly influenced by these new ideas, and either embraced them, or reacted
against them. Many European artists fled to America during WW II, and it
was after 1945 when the eyes of the world turned to America as the new center
for the art world.
Sculpture
By the middle of the nineteenth century, sculpture in America
emerged as an art form in its own right. The works in HMA's collection are
by some of the most influential, and best-known artists of the late nineteenth
and early twentieth centuries. Important small-scale bronzes were made specifically
for the new domestic consumer, who wanted works that celebrated the modern
everyday world.
Prints
The Huntington Museum of Art has an extensive print collection
by European and American artists ranging from old master to contemporary,
the majority of which are from the 19th and 20th centuries. The prints fill
many stylistic gaps in the collection, including regionalism, surrealism,
pop art, op art, super realism, and minimalism, among others. Woodcut, etching,
lithograph, dry point, aquatint, screen print, and other techniques are
represented.
The exhibition features prints that show influences from
Europe and those distinctly American. Private presses and professional print
workshops expanded the printing methods available to artists, and both realism
and abstraction had strong proponents throughout the twentieth century.
The years 1960 to 1990 witnessed an extraordinary growth in the number of
artists working in print media, experimenting with techniques and materials,
and expanding the size of plates. Printmaking became a driving force in
the contemporary art world. (right: Robert Longo (b. 1953), Cindy,
1984, lithograph, edition 34/38, 72 x 42 3/8 x 2 inches, 1986.78. Huntington
Museum of Art)
Glass
West Virginia proved to be the ideal location for manufacturing
glass. Innumerable businesses located in the state, some small-scale, one-man
shops, many of which survived for years, and others, that grew into mass
production facilities. The state offered everything required for glass production,
including the natural resources of coal and gas for firing furnaces, and
silica for the glass formula. A network of rivers provided easy access to
markets outside the Ohio River Valley. Huntington's collection boasts over
5000 pieces of glass, commercial, art and studio, with an emphasis on glass
manufactured in the Ohio Valley.
In the last forty years, new techniques have allowed glass
production, an art form 3,600 years old, to reach new heights. In the 1950s,
a handful of artists began designing and creating unique non-industrial
pieces in their private studios. Thus the studio glass movement was born.
Early works by pioneers of the movement, including Dale Chihuly, Toots Zynsky,
and the "father" of American studio glass, Harvey Littleton are
represented.
Folk Art
Beginning in the 1910s, following the Armory Show, many
early American modernists considered folk art an unfettered
national precedent for their pared-down, semi-abstract, individual styles.
A few foresighted collectors began acquiring folk art in the 1920s, and
a number of important exhibitions occurred in the 1930s, but in the histories
of American art, folk art, both the traditional craft produced in isolated
regions, or more generally the creative products of self-taught, non-academic
artists, was overlooked until the 1970s, when many artists and collectors
became interested in living folk artists. (left: Minnie Adkins (b.
1934), Black Bear, 1987, carved and painted basswood, 29 x 4 x 11
inches, 1991.46.1. Huntington Museum of Art)
There are many labels for folk artists and their work,
including naïve, primitive, self-taught, untutored, homemade, vernacular,
isolates, outsider, visionary, eccentric and insane. Whatever the name,
folk artists, like all artists take elements of their lives and portray
them in extremely original artistic expressions. The Huntington's collection
was obtained mainly from the southern Appalachian region
Object labels from the exhibition:
-
- Gilbert Stuart (1755-1828)
-
- Bishop Butson
- circa 1790
- oil on canvas
- Gift of George L. Bagby
-
- Gilbert Stuart was one of America's first great painters. A native
of Rhode Island, he showed talent for drawing at an early age, and he became
an apprentice to the Scottish painter Cosmo Alexander, with whom he journeyed
to Scotland. Upon his return, Stuart established himself as a portrait
painter in the Newport area. The rumblings of war, however, sent Stuart
across the ocean again to London, where he received assistance, training
and employment from the expatriate American Benjamin West. Stuart eventually
was in great demand as a portraitist, but his extravagant lifestyle and
mounting debts forced him to move in 1787 to Ireland. He received steady
commissions for paintings, including this portrait, done in the fluid style
that was a hallmark of Stuart's work, of Christopher Butson, who was elevated
to the position of Bishop of Clonfert in 1804. Stuart generally preferred
bust-length views, reserving full-length portraits for those of the highest
stature.
-
- In 1792, again plagued by debt, Stuart sailed for the United States,
where he rapidly established his reputation as a portrait painter. His
likenesses of George Washington and many other notables of the young republic
were held up as standards by which other painters of the day were measured.
- Samuel Finley Breese Morse (1791-1872)
-
-
- Samuel F.B. Morse (1791-1872)
-
- Portrait of Susan Walker Morse
- circa 1820
- oil on board
- Gift of Alex E. Booth, Jr.
-
- Samuel F.B. Morse is best known as the inventor of the telegraph machine
and Morse code, which revolutionized communications during the nineteenth
century. But he began his career as a painter, traveling from his native
New England to train in England under Benjamin West and others. A co-founder
of the National Academy of Design, he desired to change the status of American
artists through better teaching, more informed patrons, and accessible
fine art. Failing to win over the American public with his history painting,
he took up portraiture, a subject for which he had little regard, but which
provided a source of revenue. In 1837, piqued by the refusal of Congress
to consider him for a commission, he turned his back on the world of painting
to concentrate on his experiments with electronic communication.
-
- This portrait of his first child, Susan, was painted when she was about
one year old. Morse had not fully refined his portrait style at this time,
and there is little of the formal "grand manner" style that would
become a hallmark of his work. The playful subject matter is less stylized
than the portraits of leading citizens, both in New England and South Carolina,
which Morse painted. Susan is known to feature in at least one other work
by her father.
-
-
- Sala Bosworth (1805-1890)
-
- Mrs. Samuel P. Hildreth and Harriet E. Hildreth
- circa 1826-1827
- oil on canvas
- Janet Seaton Humphrey Bequest
-
- Sala Bosworth was born in Massachusetts, but moved to the Marietta,
Ohio area in 1818. Founded in 1788, Marietta still retained the sense and
bustle of a frontier town. The young Bosworth had energy and a capacity
for learning, matched by an interest in painting. His early works are marked
by an almost folk-art quality that was the product of no formal training.
- Bosworth went on to study at the Pennsylvania Academy of Fine Arts
in Philadelphia, and his post-Academy works reflect a greater level of
technical accomplishment.
-
- Itinerant artists were a regular part of American life in the mid nineteenth
century. Bosworth was one of at least 360 professional artists registered
in Ohio during the antebellum period, and competition was keen. He eventually
gave up painting professionally, but continued to paint throughout his
life. Portraiture and history painting were the standard practices of the
- frontier artist, including Bosworth. This portrait is of Mrs. Samuel
Prescott Hildreth, wife of Dr. Samuel Hildreth, an early patron of Bosworth's.
Mrs. Hildreth is seen here holding her sixth child, Harriet Eliza. The
double portrait has a charm and sense of ease, and while exhibiting some
of the folk-art tendencies of his earlier period, the portrait also reveals
Bosworth's academic training.
-
-
- James E. Buttersworth (1817-1894)
-
- Yacht Race
- no date
- oil on panel
- Janet Seaton Humphrey Bequest
-
- During the late nineteenth century's "Gilded Age," many newly
wealthy Americans adopted a lavish lifestyle, of which yachting and yacht
racing became a part. For the marine artist James E. Buttersworth, this
provided a new source of commissions, as many of the yacht owners wanted
small paintings of their prized possessions to hang on board in the stateroom.
-
- Buttersworth's life has remained something of a mystery because of
an absence of written records, and much of his work remains untitled and
undated. He was born in England in 1817 into a maritime painting family,
at a time when "ship painting" was considered a trade rather
than an art. Between 1845 and 1847, he came to the United States, settling
in West Hoboken, NJ, not far from the energy and bustle of the New York
City harbor. In 1851 he painted the triumph of the American yacht Americas,
which defeated the pride of Great Britain in a race off the Isle of
Wight. The patriotic sentiments fueled by this victory gave rise to the
Americas Cup. Such races provided Buttersworth with a wonderful subject,
as he was able to depict the drama and speed of the contest, as he has
with the sharp diagonals of the vessels in this painting, rendered in fine
detail. His work shows the high level of sophistication in technique that
maritime art can reach.
-
-
- Joseph Oriel Eaton (1829-1875)
-
- Portrait of John Means
- 1868
- oil on canvas
- Janet Seaton Humphrey Bequest
-
- Joseph Oriel Eaton's career was marked by steady development rather
than groundbreaking innovation. While he did paint landscapes, and a handful
of classical scenes, he is best remembered as a portrait artist. In 1846,
Eaton moved to Cincinnati where he rapidly earned a reputation as one of
the finest portrait painters in the Queen City. Eaton worked in Cincinnati
until 1863, and from then until his death in 1875 in New York, where this
portrait was probably painted.
-
- John Means (1829-1910) was born in West Union, Adams County, Ohio.
He briefly attended Marietta College before joining his father's business.
In 1854 John, his father, and his uncle Hugh purchased the land that would
become the city of Ashland, Kentucky. They founded the Kentucky Iron, Coal,
and Manufacturing Company and became the area's most prominent boosters.
That same year, Means married Harriet Hildreth Perkins, daughter of Dr.
Samuel Prescott Hildreth. The portrait by Sala Bosworth in the exhibition
is of the young Harriet and her mother. This portrait reveals Eaton's great
skill as a draftsman. In an era when portraiture needed to depict the characteristics
of the sitter as instantly recognizable to the viewer, Eaton was well suited
to the task.
-
-
- David Johnson (1827-1908)
-
- October, Cos Cob, Connecticut
- 1878
- oil on canvas
- Gift of Herbert Fitzpatrick
-
- The career of landscape painter David Johnson stretched from the 1840s
to the early twentieth century, a period that saw a myriad of changes in
the styles and influences that directed American art. Johnson modified
his style periodically to experiment with different artistic approaches,
ranging from the panoramic views of the Hudson River School to the more
intimate, atmospheric landscapes of the Barbizon-influenced painters. His
work, however, always exhibited outstanding draftsmanship, accomplished
handling of materials, and a keen ability to record the beauty of the landscape.
-
- Very few details are known about Johnson's training and career. He
established a home and studio in New York City, but traveled throughout
the rural countryside of the northeastern United States in search of picturesque
subjects to record. October, Cos Cob, Connecticut is typical in
many ways of the artist's work in its modest size and meticulous detail.
He did at least six different paintings in the area around Cos Cob, a small
town in Western Connecticut that would later become famous as a haven for
American Impressionist painters. With his meticulous eye for detail and
considerable talent with pencil and brush, Johnson was able to successfully
record these "portraits of places" throughout his career.
-
-
- George Inness (1825-1894)
-
- Looking Over the River
- 1886
- oil on canvas
- Gift of Herbert Fitzpatrick
-
- George Inness was troubled throughout his life by epilepsy; a disease
that was little understood when Inness was a child. He failed at school,
and in an attempt by his father to establish him in a grocery business.
Academics and business were not what the young Inness had in mind, however.
He expressed an early desire to be an artist. He trained under the itinerant
artist John Jesse Barker and briefly under the French artist Regis-Francois
Gignoux, who introduced Inness to the works of the European masters. From
1850-1878 Inness divided his time between Europe, Boston, New York, Medfield,
MA, and Raritan Bay, NJ. By 1874 he had bought a home in Montclair, NJ,
becoming more settled.
-
- Although Inness began his career as a follower of the Hudson School,
his travels influenced the development of his work. By 1886, when this
painting was executed, Inness' style had reached its full maturity. The
soft colors and the atmospheric haze that are hallmarks of this period
of his life are profoundly evident in this lush scene. The human figure
gazing out across the river stresses the notion of correspondence between
the human world and nature, and the spiritual manifestations of both. Looking
Over the River possesses all the poetic intensity of the later works
of Inness.
-
-
- John Frederick Peto (1854-1907)
-
- Still Life with Ginger Jar and Pound Cake
- circa 1890
- oil on board
- Museum purchase with funds provided by the Sarah Wheeler Bequest
-
- John Frederick Peto's artistic life was remarkable for a lack of commercial
and critical success. Indeed it was forty-three years after his death that
the first show dedicated exclusively to his art was curated. Whatever the
reasoning behind his exclusion as an important artist of the late nineteenth
century, post World War II scholars have attempted to place him as an important
and gifted artist.
-
- John Frederick Peto's work should be viewed as a continuation of a
still life legacy that had its roots in his hometown of Philadelphia. He
added to this tradition a wonderful handling of color, and an understanding
of the nuances of light. The vast majority of Peto's work is made up of
still lifes or card racks, the name given to the painting of the paper
bric-a-brac that cluttered late nineteenth century life: business cards,
advertisements, letters, invoices, etc. In his still lifes, the subjects
often have a comfortable shabbiness that is matched by their function.
This painting is of cake, a ginger jar, peaches, and almonds-all recognizable
agents of sensory delight. These have been placed in a stylized fashion
for this painting. Peto also worked as a photographer and his paintings
are reminders of the careful attention to detail of the early practitioners
of that art.
-
-
- Alexander Wyant (1836-1892)
-
- Adirondacks
- no date
- oil on canvas
- Gift of Mary H. Resener
-
- Alexander Wyant ventured from his New York City studio into the Adirondacks,
an area of incredible natural beauty in northern New York State, to sketch
on several occasions beginning in the late 1860s. By 1875 he had built
a summer studio in Keene Valley area. A number of his works focused on
the scenic wonders of the rugged wilderness he found near there. This particular
view is of Lake Placid, with the surrounding mountains visible in the background.
-
- Many of Wyant's paintings, especially early in his career, were influenced
by the styles of the Hudson River school artists that were popular in mid-nineteenth
century America. These works emphasized the grand, imposing beauty of the
natural world. Adirondacks, though a relatively small canvas, exhibits
the panoramic view favored by these artists. Following a stroke he suffered
in 1873, Wyant adopted a looser painting style, prompted largely by the
paralysis of his right side. He trained himself to paint with his left
hand, and his work became more introspective and painterly.
-
-
- Ralph Blakelock (1847-1919)
-
- Moonlight (Night Scene)
- circa 1885-1898
- oil on wood
- Gift of Herbert Fitzpatrick
-
- Largely self-taught as an artist, Ralph Albert Blakelock always managed
to produce the unconventional. At a time when many American artists were
heading east to France, he went west, and was introduced to Native Americans
as a subject matter.
- His western landscapes and paintings of Native American encampments,
however, were painted at his New York
- studio. His first works were of the narrative and literal style of
the Hudson River School, but his moonlit landscapes and encampment scenes
made up the bulk of his work, painted largely between 1880 and 1899. Sadly,
Blakelock lived from 1899-1919 in institutions for the insane, or as a
virtual prisoner of the woman in charge of his estate. Stricken by paranoid
schizophrenia, largely ignored by galleries and collectors alike, penniless,
and isolated from his family and society, Blakelock died a lonely death.
-
- In Moonlight (Night Scene), the moon dominates the center; a
dark band of color stretches across the foreground and trees frame the
entire scene. Although the Imagery is atmospheric, close observation of
the canvas reveals a degree of detail. Like many of Blakelock's works,
this painting has a very high bitumen content that has precipitated cracking.
He worked with an extraordinarily thick palette, often applying his paints
with a knife. The overall effect is that of a visionary and a romantic.
-
-
- J. Alden Weir (1852-1919)
-
- June, Connecticut
- 1896
- oil on canvas
- Gift of Ruth Woods Dayton
-
- As a young boy Weir studied under his father, an artist and instructor
of drawing at the United States Military Academy at West Point. When he
was twenty, Weir studied in Europe, returning to the United States in 1877.
He purchased a farm at Branchville in rural Connecticut. Though his earlier
work was in still lifes and portraits, he became an enthusiastic landscape
painter, rendering the surrounding countryside with careful attention to
atmosphere and detail.
-
- The broken brushstrokes in June, Connecticut, and the careful
attention to light and color indicate a Barbizon influence. Weir was also
anxious to adopt French impressionist techniques to American subjects.
He helped to found the Ten American Painters, an Impressionist group whose
aim was to break away from the conservative and restrictive principles
and policies of the Society of American Artists. Weir's influence, however,
went beyond the Barbizon and Impressionism. He was a keen observer of Japanese
two-dimensional art. A popular and sociable man, J. Alden Weir was an example
of the classic training of the academies of Paris combined with merging
ideas of both Europe and Asia. This, allied with his genuine love of his
Branchville farm, produced an art that helped redefine American landscape
painting, away from the large and dramatic panorama and much more towards
the small intimate landscape as seen here.
-
-
- Irving R. Wiles (1861-1948)
-
- On the Porch
- circa 1893
- oil on canvas
- Gift of Ruth Woods Dayton
-
- Irving Wiles showed great talent as a youth in both music and art.
His father, Lemuel Wiles, was a noted landscape painter and his son's first
teacher. Irving studied formally at the Art Students League in New York,
and in Europe at the studio of Carolus-Duran and at the Académie
Julian. Carolus-Duran, who had also served as John Singer Sargent's teacher,
emphasized the benefits of "drawing with a brush," a talent that
Wiles would use with great acumen in his painterly portraits.
-
- Following his return from Europe, Wiles supported himself as an illustrator
and an instructor at the art school in western New York that his father
had established. While summering there during the early 1890s, Wiles completed
a number of genre scenes that featured his wife, including On the Porch.
These exhibit a freedom of paint handling and emphasis on light that was
very impressionist-like. Wiles emphasized female subjects in many of his
early figure paintings and genre scenes. It was his stunning portrait of
the actress Julia Marlowe, however, that firmly established his reputation
as a portrait painter. He became the successor to John Singer Sargent as
the purveyor of the grand manner portrait in America, and his subjects
included such luminaries as Theodore Roosevelt and William Jennings Bryan.
-
-
- John Singer Sargent (1856-1925)
-
- Near June Street, Worcester, Massachusetts
- 1890
- oil on canvas
- Gift of Alex E. Booth, Jr.
-
- John Singer Sargent was born in Florence to expatriate American parents.
His artistic talents were noted at an early age, and he studied in Paris
at the Ecole des Beaux-Arts and at the atelier of Charles-Emile-Auguste
Durand. His formidable talents, the ease with which he moved from country
to country, and the demand for society portraits helped him to build up
a substantial reputation. By 1900 he was the most sought-after portraitist
in England and the United States.
-
- Although Sargent is primarily remembered as a portraitist, his landscapes
have received increasing interest from critics as an overlooked part of
his oeuvre. In 1890, while in Worcester, Massachusetts to paint a commissioned
portrait, Sargent continued his practice of plein air painting of
landscapes. Near June Street, Worcester, Massachusetts
provides an example of the ease and joy that Sargent could bring to
his subject, and the influence of the Old Masters as well as his Impressionist
contemporaries. The contrast in his colors and the freedom of expression
seen here stand in stark contrast to the more formal and structured work
of his portraits. Landscape painting afforded him the opportunity to practice
art for pleasure, and this painting is evidence of the personal affinity
he had with the subject, as well as his painterly qualities.
-
-
- John Henry Twachtman (1853-1902)
-
- Horseneck Brook in Winter
- circa 1892-1894
- oil on canvas
- Gift of Ruth Woods Dayton
-
- In many ways John Henry Twachtman typifies the American experience
for artists in the late nineteenth century. He left his native Cincinnati
to spend several years abroad (Munich, Paris, and Venice) and then returned
to the United States to teach and paint. But in other aspects his career
is quite remarkable. He was instrumental in establishing the Ten American
Painters, a group that broke away from the Society of American Artists
on the basis of the Society's perceived conservatism. He befriended fellow
artists such as Childe Hassam, Theodore Robinson, and J. Alden Weir. His
work was critically acclaimed, although not a financial success. Above
all he em-bodied the spirit of changing influences in the American world
of painting brought about by the Americanization of European ideas. This
fusion of ideas and experiences resulted in a poetic vision of the landscapes
that served as his subjects.
-
- Twachtman settled in Greenwich, Connecticut in 1889, finding it close
both to New York and his good friend and fellow artist J. Alden Weir, and
providing marvelous natural landscapes to paint. Horseneck Brook was located
on his property. The curving brook was a particularly attractive feature
for Twachtman, and it provided him with subject matter for a number of
paintings. He painted it in different seasons and from different locations,
although winter landscapes are most numerous.
-
-
- Maurice Brazil Prendergast (1858-1924)
-
- Seashore with Figures
- circa 1902-1904
- oil on panel
- Gift of Herbert Fitzpatrick
-
- Born in St. John's, Newfoundland, in 1858, Maurice Prendergast moved
to Boston in 1868. Little is known of his early life. He worked in a show
card shop, where he learned the skills of lettering, graphic design, and
illustrating. In 1886 he journeyed to Wales, where he painted landscapes
in watercolor. But during a trip to Paris in 1891, he was transformed by
the influences of the academic tradition of the Atelier Colarossi and the
Académie Julian, other North American artists, and the sketching
trips he made to the northern coast and among the streets of Paris. On
a later trip to Italy, in 1898-99, Prendergast began to utilize color in
a magnificent fashion, and painted an increasing number of oils from 1900
onwards. A favorite subject was the growing middle class in their environments
of urban settings or strolling along fashionable promenades or in city
parks.
-
- This painting was one of a series he named "Promenades by the
Sea Shore." Three broad bands cross the horizon, separating various
planes of vision. The colors are vibrant and strong, while the figures
have a fluidity of form that goes beyond his contemporary American Impressionists.
It was this increasingly "modern" sensibility adopted by Prendergast
that linked him to the artists known as The Eight.
-
-
- William Glackens (1870-1938)
-
- The Cedar Walk
- circa 1914
- oil on canvas
- Gift of Ruth Woods Dayton
-
- Glackens was educated at Philadelphia's Central High School and at
the Pennsylvania Academy of Fine Arts, where he met Robert Henri, who had
a profound influence on his life and work. The two shared a studio in Philadelphia,
and the young Glackens was introduced to Henri's influential ideas on art,
politics, and society. Glackens worked as an illustrator for newspapers,
magazines, and books in Philadelphia and New York. At Henri's urging, he
concentrated on oils following a trip to Europe, and he exhibited as part
of The Eight in 1908. He was instrumental in the modernizing forces of
the early twentieth century in American painting.
-
- This colorful view of a scene in Bellport, Long Island, was painted
during years when the Glackens family spent their summers on the shore,
providing the artist with a host of subjects. Bathing and beach scenes
exist in collections throughout the United States. The Cedar Walk
exhibits many of the compositional features of this period in Glackens'
life, including solid draftsmanship, geometric forms, the use of broad
brushstrokes, but above all color. He combined the influences of the Impressionists
with those of Manet and, in particular, the vivid use of color of Renoir.
Glackens presents to the viewer a sense of color, light, and warmth.
-
-
- Arthur B. Davies (1862-1928)
-
- Esmeralda
- circa 1915
- oil on canvas
- Gift of Mrs. Arthur S. Dayton
-
- One of Arthur Davies' most consistent subjects was women in unspoiled
landscapes. In Esmeralda, his subject lies nude on the hilly shore
of an un-identified land, striking a sensuous, yet not openly provocative,
pose. The portrayal of women as symbols of purity, with otherworldly qualities,
was popular among artists of the time. The women in Davies' paintings are
often caught in moments of reverie, serving as expressions of the ideal
in nature. It is unknown whether Davies intended to portray a particular
character from literary or musical sources in Esmeralda, as the
titles of his paintings were frequently enigmatic or unrelated to the subject
matter.
-
- Davies' career included many puzzling contrasts. His early work showed
the influence the Symbolists, who delved into the emotional and sometimes
irrational aspects of human nature. While his own work was firmly rooted
in the romanticism of the nineteenth century, he established himself as
a champion of modernism in America, most notably in his organization of
- the Armory Show in New York in 1913, which brought the work of the
European avant-garde to the American public. Davies was also curiously
associated with The Eight, whose works were identified with an urban Realism
that was worlds apart from Davies' ethereal landscapes. Davies was a complex
individual whose personal and professional lives were shrouded in mystery
and secrecy, but his work was consistently praised and eagerly collected
during his lifetime.
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- Willard Leroy Metcalf (1858-1925)
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- Kittery Mansion
- 1917
- oil on canvas
- Gift of Ruth Woods Dayton
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- Willard Metcalf spent his early years in Boston, and like many American
painters, studied in Paris. He was one of the first American artists to
be exposed to the works of Monet at Giverny. He settled in New York in
1889, and in late 1903 or early 1904 joined his parents in Maine and dedicated
himself to painting landscapes of the surrounding countryside. It was a
- turning point for the artist in two ways: it helped him at a time of
personal problems and ill health, and it gave his career a focus-the New
England landscape. From 1904 onwards its beauty was the central focus of
Metcalf's works, which were both critically acclaimed and a commercial
success. When he died in 1925 the New York Times described him as "the
leading American landscape painter."
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- Kittery Mansion depicts the Robert Follett Gerrish house in
Kittery, Maine. The house was built in the early eighteenth century and
has been in the Gerrish and Follett possession since 1797. The two families
were involved in shipping and the location of the mansion allowed them
access to the sea. Kittery Mansion reveals the strong Impressionist
influence in the broken brushstrokes, but also shows an adherence to form
that was absent in many contemporary American Impressionist works. There
is an emphasis on color, light, and atmosphere that was unique to Metcalf.
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- Ernest Lawson (1873-1939)
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- End of Winter
- no date
- oil on canvas mounted on board
- Gift of Ruth Woods Dayton
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- Training in Mexico, the United States, and Europe brought many influences
to Ernest Lawson's work. In Mexico he had worked as a draftsman with an
engineering company, in the United States he had worked with John Henry
Twachtman and J. Alden Weir, and in France he had been exposed to the various
works of the Impressionists. All of these forces helped shape his art,
but his synthesis was unique. Critics placed his works halfway between
Realism and Impressionism. However, what lends this painting its atmosphere
is neither the draftsmanship of a realist, nor the dissolved forms and
loose brushstrokes of the Impressionist, but rather it is Lawson's uniquevision
of the American landscape and his vivid use of color as a means of conveying
a sense of emotion.
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- Although not dated, this painting is probably from the period 1906-1918,
when Lawson lived in New York and painted landscapes of the city and its
surrounding areas. The heavy use of paint was characteristic of his work.
In End of Winter there is a thick impasto in some areas and the
canvas remains barely touched in others. The popularity of Lawson's work
dwindled in the years after his death, and it is only recently that scholarship
has once more "discovered" Ernest Lawson.
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- Emil Carlsen (1853-1932)
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- The Heavens Are Telling
- circa 1918
- oil on canvas
- Gift of Ruth Woods Dayton
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- Born in Denmark in 1853, Emil Carlsen trained as an architect, although
he never entered the profession. He moved to Boston in 1876. His early
career was marked by a distinct lack of commercial success, forcing him
to auction all of his paintings in Boston, a move that actually left him
in debt to the auction house. His initial works were mostly still lifes,
allowing him to use the precise penmanship skills he had acquired as an
architectural student, with a commitment to natural renditions that would
emerge in his seascapes and landscapes as well. A visit to Paris from 1884-1886
influenced Carlsen to give up painting still lifes and to paint more landscapes.
This included seascapes, which was no surprise, as he was from a family
of marine artists. On returning from Europe he set up a studio in New York
and a family home in Falls River, Connecticut. He often painted with John
Henry Twachtman, J. Alden Weir, and Childe Hassam.
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- The Heavens Are Telling is a particularly strong example of
a Carlsen seascape. The focus is not on the sea, but rather on how it responds
to the skies and the light of the moon. His use of colors contributes to
the overall effect; blues and whites combine to allow the viewer to sense
the moonlight. Painted on a large canvas, as many of his seascapes were,
the vision is majestic, powerful, and yet also serene.
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- William Robinson Leigh (1866-1955)
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- Mounted Indian
- 1917
- oil on canvas