The Hudson River School of Painting Helps Define American Identity
By the mid-17th century, English claims in the New World were well-established for those colonies along the New England coastline. The hard-scrabble existence and high mortality which had so characterized the early years of settlement had given way to communal permanence and relative prosperity. Still, the relationship of these growing settlements, with the surrounding forest and inhabitants, remained uneasy. Intent on establishing a wilderness Zion, where tight controls over religious practices could be consistently managed and overseen, these English settlers often described their surroundings as “cursed” land, “the environment of evil,” a “kind of hell” on earth. The earliest Puritans of New England, steeped in an Old Testament, Biblical worldview, believed they found themselves in such a “wilderness condition” of continental proportions. It was their God-ordained destiny to transform the dismal American wilderness into an earthly paradise, governed accordingly by the Word of God. Fine Arts MagazineMore
Contemporary Artist Wolf Kahn: Discovering Symbolism in the Ordinary
What do you think of when you think about Wolf Kahn? Is it the fantasia palette, the barns glowing ember-like, the tangled rushes as if singed by a fire, or his hot pink shirt, green tie and strawberry socks? The artist did not disappoint on Thursday evening at the Center for Creative Printmaking in Norwalk, CT. His molten colored monoprints on exhibit downstairs, Kahn fielded questions about his work and life upstairs. Fine Arts MagazineMore
French Impressionism Shares a Key Feature with American Impressionism
Is light the unifying element in these schools of painting?
Claude Lorrain, Landscape (1648)
The short, obvious answer is, yes…and the impact of light on the final result can vary dramatically.
Many painters promote themselves as ‘painters of light’. The simple reality is that without light, there would be no subject matter to paint. Even non-objective painting relies on the play of color (light waves across the visible spectrum) in contrasting and complimentary combinations to reach your eye and attract your attention. The minimalists, too, voided their canvases of most chromatics as a way of saying, “Hey, look what’s going on here…no color!” Color theory was thus being leveraged, in that case, by virtue of is conspicuous absence.
Claude Monet Haystacks Sunday Morning (1891)
So, light has served as an important compositional element in painting, especially since the Renaissance, when the use of light effects became essential for the portrayal of perspective and dramatic human action as an indispensible part of the artist’s skill set. But not until the mid-19th century, when we entered the period of early modern painting, did the use of light effect in painting take on bold new meaning. For the Impressionists, painting en plein air meant that light was to become a central element in their work, rather than a studio technique to achieve dramatic highlights. Their fractured brushstrokes, flattened perspective, chiaroscuro-style paint application and indistinct rendering of central subject matter meant that light had to be deconstructed in the artist’s eye (and mind) and then reassembled on canvas in its component parts. So, the compositional or spectral elements of the light they were enveloped in as they worked became a critical factor in defining the finished product.
Thus, the question needs to be asked: Was the light of provincial France an essential and critical element in the production of a style and body of work we now call Impressionism; or could it have happened anywhere?
Charles Davis, Twilight Over the Water (1892)
Drawing on the lessons learned in another part of the world where Impressionism flourished in the years that followed the French movement, we turn to New England and the American Impressionists: J Alden Weir, Childe Hassam, John Henry Twachtman, Charles Davis and others. From two of these communities of artists who gathered to paint and critique one another’s work in Old Lyme and Cos Cob, Connecticut, we have a genre that closely approximates the experiences of the French Impressionist masters as they painted in the changing light of the day and the seasons.
Childe Hassam, The Nymph of Beryl Gorge (1914)
The unique feature of Connecticut shoreline light is the moisture-saturated nature of its proximity to the sea. The humidity and air-borne particles of water prevalent near bodies of water make for denser air, thereby softening detail in the viewer’s eye. It also makes for richer colors in everything they saw there, especially warm whites, reds and yellows. This same effect can be found in the South of France, where the prevailing North African winds (seasonal mistrals) blow Mediterranean sea air far inland. As painters, they would have seen similar color saturation on their Grand Tours of Italy’s Tuscan Region and the Cote d’Azure in France—also close to the sea and similarly affected by prevailing breezes. By contrast, the light in the mountainous regions of the Alps or the American West would be crisp and dry, heightening the effects of cool blues, purples and greens and preserving detail, even over great distances.
Claude Monet studied these light effects and produced a well-know series of paintings of Rouen Cathedral, where the impact of time-of-day was a key factor in his use of color and shadow. Identical subject matter seems to shift and change shape from morning, to mid-day, to evening in these works. A similar examination of light’s impact on a subject can be seen in his 1892-4 series of paintings of hay rooks. Monet repeatedly set up his easel in an open field, overlooking the pastoral scene. There, he worked on multiple canvases, over the course of many months, to painstakingly record the changing effects of light on the façade of his now-famous subject.
For a Connecticut artist like Childe Hassam, light play was an essential element in achieving a sense of intimacy between their subjects and the viewer. Interior spaces where filled with the warm light of summer, offering as much gravitas as the other physical objects in the composition. The female figure, painted outdoors in the dappled light of a garden landscape achieved an intimacy and vibrancy that is immediately associated with the warmth of human flesh. Nature and humanity are merged.
Light and form, form and light: the two essential and inter-related components of art that define the third essential—emotional impact. -RF
Museum of Fine Arts, Boston, Soon to Display Object of Baroque Era Artistry
In 2007, the Museum of Fine Arts, Boston acquired a spectacular twenty-eight piece silver-gilt toilet service made by the Augsburg goldsmith, Johann Erhard II Heuglin (master 1717-1757), around 1725-1730. It represents the height of the Baroque style in Germany.
Left: Twenty?eight piece toilet service in original leather case marked by Johann Erhard II Heuglin (master 1717–1757) and Philipp Jakob I. Jäger (active 1715–1763), (German (Augsburg), about 1725–1730). Silver gilt, glass, boars’ bristles, original leather?covered case with wrought?iron hardware. Photo © Museum of Fine Arts, Boston. Fine Art MagazineMore
Fine Art Collecting- A New Series Focuses on Risk Management
This unusual story may not at first appear to be entirely relevant when considering the dark magic of insurance. Certainly many people need a cup of strong coffee before submitting themselves to an insurance analysis. But, other than that, what relevance is there between insurance and the art of coffee making…possibly, none.
(left): An illustration of Edward Lloyd’s coffee house, 1798, which served as a headquarters for marine underwriters. Fine Art MagazineMore
Faithful Restoration of Rhode Island Architectural Landmark by Centerbrook Architects
More than half a dozen grand hotels once graced the Watch Hill, peninsula on the western shore of Rhode Island, but a decade ago only one remained, Ocean House, an aging and ailing wooden behemoth whose top floors had been condemned for years. Odds were increasing that this iconic landmark, its era long past, would soon vanish like the rest.
By 2003, bumper stickers around Watch Hill implored “Save Ocean House.” The 1868 renowned, resort, ocean front hotel, where the silent movie “American Aristocracy” starring Douglas Fairbanks, Sr. was filmed, had just closed for good. Its future was manifestly uncertain. If Ocean House was torn down, could a litter of McMansions be far behind? Fine Art MagazineMore
The Hudson River School of Painting Helps Define American Identity
American poet, William Cullen Bryant declared, ‘the light of distant skies’, is found in the unique history, literature and art of the Hudson River Valley, birthplace of our national identity. This article (in four parts) considers the many influences (historical, literary, artistic) of a period that helped shape the American character. Understanding the emergence and role of the Hudson River School of painting cannot be separated from other cultural factors. Ironically, the shared concern for the impact of industrialization on nature by these 19th century artists continues, even today. In some ways, the 21st century Hudson River and its protected upper reaches may appear much like they did when first discovered by Henry Hudson in 1609 and again by an adventurous group of painters in 1825. Fine Art MagazineMore
Griswold Museum’s Krieble Gallery Features Modern Art of Sewell Sillman
When it comes to matters of art, progress rarely takes a straight, clear, and single-minded path. Sewell Sillman’s career, however, suggests a different model—one that allows for stops and starts, for backtracking and bounding forward—in our consideration not just of Sillman as an artist but of his connection to the people, places, and events of art history. We can imagine this paradigm as a continuous, broken line. [1] That phrase, taken from an assignment Josef Albers gave at Black Mountain College in 1949, in which he asked his students to “draw a constant broken line,” is well suited to conceptualizing Sillman’s life’s work. While his tendency to build upon lessons from his teacher, Albers, and to push limits as he tirelessly evolved over the decades, emphasizes continuity with the past, he also made several definitive breaks over the course of his career. He fearlessly abandoned styles, media, and working environments when, in his assessment, they had run their course. “When Black Mountain was over, it was over; when Yale was over, it was over too, because things, attitudes dry up,” he stressed in a 1971 interview. “As soon as they codify, they dry up.” [2] Fine Arts MagazineMore
Art in America Featured Installation by Cuban Artist at Neuberger Museum
Performance artists have recently been enjoying a major resurgence in popularity, worldwide. Museums and biennales are spearheading this renaissance. And why not! Their one-of-a-kind theatrical events are primo entertainment, where anything can and usually does, happen. Here in New York City and its environs, five major art museums have played host to this re-emergence of the art of performance. Fine Arts MagazineMore
What I did for love!
There are so few occasions in life when you can truly say that, ‘you did it for love’. The experience of falling in love with an original work of art, together with those other moments when Cupid’s arrow strikes home, for most of us, can be counted on one hand. Wives, children, automobiles, jewelry, beautiful homes and exotic vacation spots can all evoke rapid heart palpitations and deservedly so. But surely, few of these earthly pleasures endure without a commitment from each of us to carry them close to the core of our being. And none certainly compares to a loving family and the life partner who made that all possible with you. Children too, are a perpetual blessing that evoke emotions that often exceed our wildest expectations (sometimes in ways we hadn’t counted on!).
I often point out in my lectures that art is a fickle mistress, for whom mutual appeal and attraction can change on a dime. With so many artists in the world and so much art to choose from, how does one go about selecting the right piece for you? This question becomes much more complex when considering market trends, artist reputation, auction activity and, for that matter, global markets. My advice: shut all of that out and buy what you love.
Art endures. It carries us, like only family can, because it serves as a constant reminder of how precious and beautiful the world can be when we a
re in the presence of an object created merely for its own sake. Art has little or no utility, in the absolute sense. It exists to give us joy. Few things are valued and passed on after we go. The house and cars are sold, the furniture discarded, clothing given away, the jewelry and silver divided up.
But good art persists. It may be gifted to museums or collections for future generations to enjoy. It soon enjoys a place of honor in the home of the next generation. Its message gets stronger with the passage of time; its colors and composition never get tired or commonplace.
Love endures beyond our years here on earth in the memories of our loved ones. Art can deliver a timeless message that serves as a symbol or beacon of our good taste, our values and our commitment to surround ourselves with the very people and objects that truly matter. Art, like love, is eternal.
For Kathy, with love
illustration: detail: Gustav Klimt, The Kiss (1907-08); William-Adolphe Bouguereau, Cupidon, 1756
Boston’s Museum of Fine Arts Expands its Exhibition Space and Diverse Permanent Collection
In 2007, the Museum of Fine Arts (MFA), Boston, MA, acquired a rare English silver-gilt candelabrum centerpiece of about 1806-1807, made by sculptor and goldsmith Philip Comman for the renowned firm of Rundell, Bridge and Rundell (1797-1843). The firm achieved royal patronage from King George III and supplied vast amounts of silver and ormolu objects to the royal court and English nobility. The design for this centerpiece is attributed to the early 19th century architect and designer, Charles Heathcote Tatham, an influential supporter of the more severe, neoclassical style of the Regency period. His designs typically included monumental works of art in silver, silver-gilt, and ormolu. [1] This centerpiece is one of four known examples of Philip Comman’s work based on the designs of Charles Heathcote Tatham. Few examples of Comman’s work are known to survive in silver.More
Emil Bührle’s Modernist Art Collection Dazzles Zürich: Impressionism to Picasso
If you seek, without success, to diffuse the notion that art collectors historically secure trophy artworks without regard to underlying theory or cohesion, or if undeterred, you crave the sublime rush of particular examples by the most important 20th century European artists, or if your urge is simply to alleviate the chill of a nether gray day in Zurich, then you too will relish the E.G. Buhrle Collection on exhibition at Kunsthaus Zurich through 16 May 2010. The experience is like warm butter on dry toast, a cradled sunbeam on an otherwise bland expanse of travertine, asphalt and concrete.More
The Artistic Leanings of Photographer, Henri Cartier-Bresson (1908-2004)
Alongside Giacometti, who is an absolute point of departure, the man most frequently invoked by Henri Cartier-Bresson amongst the friends we have in common is the publisher Teriade, the wise and ever-vigilant older figure whom he always considered his surest guide. In 1973, Teriade, who had admired and supported Henri from the beginning of his career, advised him to abandon a craft which he could take no further and return to his first great love, drawing. The prod came at just the right moment, and the advice was taken. More
A New Abstract Expressionism Finds a Voice in the Work of a Connecticut Artist
The Erector Square Building in New Haven, Connecticut has long stood as a landmark of American ingenuity. For decades, it served as the manufacturing headquarters for a number of well-known children’s toys, including the long-forgotten, Erector Set. Now the building’s maze of hallways, linked by well-worn and patched, honey-yellow oak floors, bear the scars of its industrious history; its imposing, sliding metal doors, at certain junctions, tell of a time when sections of the factory may have been closed off for production purposes. Their quilt-like pattern of shiny steel plates and neatly arrayed nail heads, together with a Rube Goldberg-like system of handles, pulleys and counter-weights have me imagining that these doors may have once seen service on a 19th century, Jules Verne apparatus, leagues beneath the ocean waves.More
Henri Matisse Collage Wall-Hanging Debuted at Armory Show, New York
Oceanie is a masterful, two-part work by Henri Matisse, comprising ‘le ciel’ and ‘la mer’; both pieces realizing the artist’s self-described “dream of….an art of balance, purity and serenity…”
The pair of decorative, mural-sized compositions draws explicitly from ‘reveries’ of his 1930 experience in Tahiti, the exotic iconography of which would become the mainstay of his late-era paper cut-out, collage series. (‘Oceanie’, or the English, Oceana, is a term ascribed to a broad archipelago of South Pacific Ocean and its islands.)More